周晶晶（甘婷婷 饰）和男友罗大为（郭晓冬 饰）相恋多年，彼此之间感情一直十分要好。然而，富商韩冰（巫刚 饰）亦在十分积极火热的追求着周晶晶，在权衡了利弊之后，周晶晶决定向荣华富贵的生活妥协，抛弃了罗大为。 　　然而好景不长，韩冰因病去世，尽管继承了丈夫的巨额财产，但周晶晶的内心里十分空虚寂寞，她想到了罗大为，企图回到他的身边，重叙旧缘。然而此时的罗大为早已经和名为朱珠（罗海琼 饰）的女子走到了一起，而朱珠是周晶晶和罗大为曾经的红娘，亦是周晶晶最好的朋友。咽不下这口气的周晶晶决定和朱珠之间展开角逐，而面对昔日好友的威胁，朱珠也决定紧紧抓住眼前的这份感情。

周晶晶（甘婷婷 饰）和男友罗大为（郭晓冬 饰）相恋多年，彼此之间感情一直十分要好。然而，富商韩冰（巫刚 饰）亦在十分积极火热的追求着周晶晶，在权衡了利弊之后，周晶晶决定向荣华富贵的生活妥协，抛弃了罗大为。 　　然而好景不长，韩冰因病去世，尽管继承了丈夫的巨额财产，但周晶晶的内心里十分空虚寂寞，她想到了罗大为，企图回到他的身边，重叙旧缘。然而此时的罗大为早已经和名为朱珠（罗海琼 饰）的女子走到了一起，而朱珠是周晶晶和罗大为曾经的红娘，亦是周晶晶最好的朋友。咽不下这口气的周晶晶决定和朱珠之间展开角逐，而面对昔日好友的威胁，朱珠也决定紧紧抓住眼前的这份感情。

韩国人车银太与学生时代认识的日本女性麻衣结婚，建立了幸福的家庭。但是，麻衣因事故突然死亡，银太因此受到打击而失去了记忆。失去生存的理由的银泰以在自家找到的照片为线索，展开了最后的旅程，在路途遇到了不可思议的少女。她的真实身份以及她隐藏的想法会被揭晓吗?

以个人细碎回忆，对抗国家大历史的遗忘。生于伊斯兰革命时期的伊朗，她由被母亲抱在怀里的一刻开始，个人与民族命运仿佛注定紧紧相连。拿起摄像机，拍下生活日常，在家内任发飘扬、自由歌舞的喜悦，与在家外被迫披上头巾、禁止踏足球场的愤怒相互碰撞。《我的家庭X光片》剪接师莎利菲首部纪录片，搜集陌生人的8米厘菲林，糅合自拍家庭及街头录象，以全新视角组合成伊朗真实微历史，向那些为争取自由甚至不惜以生命作代价的妇女，献上赞歌。

以个人细碎回忆，对抗国家大历史的遗忘。生于伊斯兰革命时期的伊朗，她由被母亲抱在怀里的一刻开始，个人与民族命运仿佛注定紧紧相连。拿起摄像机，拍下生活日常，在家内任发飘扬、自由歌舞的喜悦，与在家外被迫披上头巾、禁止踏足球场的愤怒相互碰撞。《我的家庭X光片》剪接师莎利菲首部纪录片，搜集陌生人的8米厘菲林，糅合自拍家庭及街头录象，以全新视角组合成伊朗真实微历史，向那些为争取自由甚至不惜以生命作代价的妇女，献上赞歌。

出生在一个被黑手党控制的小城里，一名愤怒的年轻女子决意向拆散和囚禁她家人的邪恶力量复仇。

钟灿（金柱赫 饰）和妻子妍红（孙艺珍 饰）结婚多年，膝下有一可爱的女儿，两人男才女貌，在外人眼中是如同神仙眷侣一般的存在。钟灿涉足政坛，事业小有成就，同僚们都知道，他将有极大的可能成为下一任的国会议员。 　　某一日，厄运降临到了这个幸福的家庭之中，女儿无故失踪下落不明，留下难以解释的模糊线索，令警方毫无头绪。让妍红感到不可思议的是，对于女儿的失踪，钟灿似乎并没有那么焦急，他脑中所想的，只有如何在下一场竞选中取得胜利，夫妻两人之间的感情因此而产生裂痕。无奈之下，妍红只得强打起精神，她知道，女儿所能依靠的只有自己。

一名受人尊敬的主播（高庚杓 饰）突然在播报时失去自我约束力，此举吸引了一名电视台编剧（姜汉娜 饰）的注意，并邀请他上自己的综艺节目。

The subtitle of Jean-Marie Straub and Danièle Huillet’s first feature, from 1965, “Only Violence Helps Where Violence Reigns,” suggests the fierce political program evoked by their rigorous aesthetic. The pretext of the film, set in Cologne, is Heinrich Böll’s novel “Billiards at Half Past Nine,” which they strip down to a handful of stark events and film with a confrontational angularity akin to Bartók’s music that adorns the soundtrack. The subtlest of cues accompany the story’s complex flashbacks. The middle-aged Robert Fähmel tells a young hotel bellhop of persecutions under the Third Reich; his elderly father, Heinrich, an architect famed for a local abbey, recalls the militarism of the First World War, when his wife, Johanna, incurred trouble for insulting the Kaiser. A third-generation Fähmel is considering architecture, just as the exiled brother of Robert’s late wife, returns, only to be met by their former torturer, now a West German official taking part in a celebratory parade of war veterans. Straub and Huillet make the layers of history live in the present tense, which they judge severely. The tamped-down acting and the spare, tense visual rhetoric suggest a state of moral crisis as well as the response—as much in style as in substance—that it demands.

The subtitle of Jean-Marie Straub and Danièle Huillet’s first feature, from 1965, “Only Violence Helps Where Violence Reigns,” suggests the fierce political program evoked by their rigorous aesthetic. The pretext of the film, set in Cologne, is Heinrich Böll’s novel “Billiards at Half Past Nine,” which they strip down to a handful of stark events and film with a confrontational angularity akin to Bartók’s music that adorns the soundtrack. The subtlest of cues accompany the story’s complex flashbacks. The middle-aged Robert Fähmel tells a young hotel bellhop of persecutions under the Third Reich; his elderly father, Heinrich, an architect famed for a local abbey, recalls the militarism of the First World War, when his wife, Johanna, incurred trouble for insulting the Kaiser. A third-generation Fähmel is considering architecture, just as the exiled brother of Robert’s late wife, returns, only to be met by their former torturer, now a West German official taking part in a celebratory parade of war veterans. Straub and Huillet make the layers of history live in the present tense, which they judge severely. The tamped-down acting and the spare, tense visual rhetoric suggest a state of moral crisis as well as the response—as much in style as in substance—that it demands.