父亲离世后，林溪回到即将拆迁的老宅，竟在雨夜重逢死去多年的田园犬大黄。在神秘引路人沈渡的指引下，她踏入异世记忆荒原，走过金色麦田、直面会说话的纸影，在记忆碎片里读懂父亲沉默的守护。最终她穿越光壁，拦下母亲的幽灵中巴车，在异世尽头与父母完成了迟来的告别。

依长辈约定入职江氏集团的夏清欢，只想低调做事，反遭众人轻视刁难，未婚夫江临川也偏信助理。她不靠背景靠硬实力，一步步扭转局势，当隐藏身份浮出水面，所有人都刮目相看。

下岗高级技师李建军为凑妻子医药费，屈身做仓库管理员。工厂百万精密机床故障，一众专家无力修复，他签下生死对赌协议，凭一手硬核维修技术修好设备，逆袭翻身，打脸所有轻视他的人。

全网最让人破防的五岁小棉袄！爸爸摆摊没人买，她举着蜡笔画当小迎宾；有人故意找茬，她叉着腰怼得对方哑口无言；爸爸难过的时侯，她用小小的手拍拍他的头说我养你。看软萌念一陪着爸爸白手起家，用童真治愈所有风雨。

《如果思念可以燃烧》，由执导过《孤味》的许承杰担任导演，将为观众呈现动人亲情。

沈聿白对于彬彬一见钟情，步步为营调课表、选游泳课，只为接近她。第一次偶遇就玩脱了，他真的溺水了。彬彬把他捞上来，内心惊呼他腹肌好看。从此他觉醒了一个坑爹的超能力，离她十米内就能听到她的心声，还同步感知她的情绪和疼痛。最离谱的一次，他打着乒乓球突然肚子剧痛，被抬去医务室。到了才发现，隔壁床的彬彬因为痛经晕过去了。他一个一米八几的大男人，捂着肚子替她疼了一下午

在英国留学的李青青毕业前夕意外救起落水的考古学家谢乘舟、并唤醒了被掠夺至海外的中国文物化身一小飞天。小飞天认李青青为"妈妈"并赋予她能看到文物、与文物对话的能力。为带小飞天回国，李青青暂住谢乘舟家中，两人在照顾小飞天、寻找其他遗落在外的中国文物的时候逐渐走近。而李青青实则是谢乘舟少年时期的"白月光"，两人在对抗海外势力、智斗反派的过程中感情加深，最终成功护送小飞天回到祖国，也确认了彼此的心意。

A friend of mine had rented "Shiner" only because the clerks at his local video store were talking about "how much of a bigot the director is," implying that homophobia was at the root of the film (apparently these folks never watched the special features on the DVD, which totally negates that opinion). My friend took the video home and reported to me his fascination with the film; at the same time, he felt aroused, repulsed, intrigued and frightened during and after the flick. He told me about the premise of the film, and felt somewhat ashamed for finding some of its darker content erotic. A few weeks later, I picked up the film and had a similar experience. I was confused; in the queer movement were taught so much about power dynamics and organize ourselves to fight violence, but here was a dramatically different take on the subject. What ended my confusion was the interview with writer/director Christian Calson on the DVD. The line of his that grabbed me the most: "I didn't want to make another gay romantic comedy." Things suddenly made sense to me. So many queer, I mean, gay films (ahem) are merely homo-remakes of mainstream romantic comedies. As queers, our message got lost as we sought inclusion in a particular medium. So, in what might be the most post-modern move of a writer/director in film history, Christian Calson sought to queer gay cinema. (Yes, I'm using queer as a verb.) He later supports this argument by talking about a form of "post-gay liberation" in which gay leaders shouted "We're doctors! We're lawyers! We're teachers!" to the point our difference and diversity became invisible. "We're just like you" led to us becoming nothing, in a sense. While the movie is disturbing at times, it's thoroughly engaging. The audience member feels like a voyeur, peeping into the lives of these three "couples." And through that voyeurism, we come to a closer understanding of the elements of violence and how it relates to queerness. From self-loathing to internalized homophobia, from bitter rage to being just plain f'ed up, "Shiner" takes us through a mini-gamut of how violence affects us all, in ways no PSA or "the More You Know" segment could ever hope to address. I highly suggest that you pick up the DVD of the film and watch the special features, including the Calson interview and the commentary, which is a noteworthy production in its own right.

Maxime, un jeune homme de 25 ans, débarque à Paris, mais souhaite rejoindre Justine, la femme qu'il aime, en Inde. Au bar de l'hôtel Raphaël, il fait la connaissance de Jack Lesterhoof, un riche homme d'affaires qui lui propose de devenir son interprète pour un rendez-vous important. Maxime accepte. Les deux hommes deviennent bientôt amis. Jack décide de faire un break, de rompre avec la routine et d'accompagner Maxime en Inde.