卡米耶（泰蕾兹·利奥塔尔 Thérèse Liotard 饰）在美国著名大学苦读9年，回到法国之后却在求职的过程中屡屡碰壁，竟然连续9个月都找不到工作。拒绝卡米耶的公司口径非常的统一，那就是卡米耶是一个女人。 　　在好朋友的推荐下，卡米耶得到了法国最大的化学公司的面试机会，然而，尝尽了太多失败的她对自己感到非常的没有信心。某日，卡米耶偶然看到了一档换装节目，从中找到了灵感，她女扮男装，假装成一个男人参加了化学公司的面试，果不其然，卡米耶得到了这份工作！之后，卡米耶一边竭力的隐瞒自己的真实身份，一边在化学公司里开始施展拳脚，可是天下哪有不透风的墙呢，一次偶然中，卡米耶的身份被识穿了。

游弋是游家原配之女，被舅舅当男孩养，托付给郁景琛后扮废柴少爷。她与醉酒的郁景琛发生关系后引导他认错人，后因误会带娃离开。四年后她以“小游总”身份夺家产，郁景琛帮忙，最终误会解开，一家三口幸福生活。

现代金牌杀手云陌，死后穿到同名同姓的女子身上。云陌从小父亲战死，母亲为了母女二人能在云家站稳脚跟，从云陌出生起，就把云陌扮作男子，云陌一天天长大，既渴望恢复女儿身份，又害怕身份被发现后和母亲死无葬身之地。云陌为了能尽快摆脱身份被拆穿的危险，计划着带着母亲跑路，没想到还没来得及跑，就被大元皇朝的，权势滔天阴戾无比的唯一异姓王爷晋苍看中，带回府中，从此为了活命，开启了和晋苍斗智斗勇的生活。

Shim Chung, who visited smugglers to save her father's eyes, is in trouble. 　　It has adapted the Korean classic novel 'Shim Chung' into a modern version and completed in a short animation.

该剧描述清朝末年，兰嫣因父亲再娶玉奴而心怀怨恨。玉奴表面贤淑，实则对兰嫣冷酷无情，威胁她不得告状。当玉奴父亲去世后，玉奴更欲将兰嫣卖入妓院，幸得冷云相救。之后，兰嫣在药材铺老板家做丫鬟，继续她的苦难生活的故事。

故事发生在清朝末年，兰嫣（安以轩 饰）因不满父亲新娶了妻子玉奴（赵子琪 饰）而心结难消，下人冷云（何晟铭 饰）一直耐心的安慰和开导兰嫣。之后，虽然玉奴已经过门，但兰嫣却拒绝称其“娘”，这令玉奴内心十分不满。 　　人前，玉奴是个温柔贤惠的女人，但私底下，玉奴对待兰嫣十分无情，她威胁兰嫣不准她向父亲告状，否则将家破人亡。一次意外中，玉奴的父亲不幸去世，这令兰嫣的境遇更加糟糕。狠心的玉奴打算将兰嫣卖到妓院，索性得到了冷云的解救，才免于沦落风尘的厄运。之后，兰嫣进入了药材铺老板的府上成为了丫鬟，她的苦难生活还在继续着。

Set in Warsaw, the film loosely follows the character of an orphaned Vietnamese child who grows up to be absorbed into a dance group inspired by South Korean pop music. Widely popular within Polish youth subculture, K-pop is used by the artist as a vernacular material to trace a relationship between Eastern Europe and Asia with roots in Cold War allegiances. This dichotomy is further complicated by the significant Vietnamese diaspora currently living in Poland, composed of Northerners who migrated before the fall of the Iron Curtain, and Southerners who came in the aftermath of the Vietnam War. Nguyen traces how these layered inner conflicts are reckoned with inside the process of finding shared symbols and naming oneself from within another’s regime. 　　Assembling a crew of teenaged Polish dancers who perform original choreography set to music and lyrics co-written by the artist, she looks at both the exaltation and erasure of personal traumas at play in the process of representation, identity building, and the formation of a shared nation space. The melodramatic pull of the spectacle is disrupted by the voice-over, culled from various and often contradictory writings on revolution by Ulrike Meinhof, Hannah Arendt, Mao Zedong, and others.

Set in Warsaw, the film loosely follows the character of an orphaned Vietnamese child who grows up to be absorbed into a dance group inspired by South Korean pop music. Widely popular within Polish youth subculture, K-pop is used by the artist as a vernacular material to trace a relationship between Eastern Europe and Asia with roots in Cold War allegiances. This dichotomy is further complicated by the significant Vietnamese diaspora currently living in Poland, composed of Northerners who migrated before the fall of the Iron Curtain, and Southerners who came in the aftermath of the Vietnam War. Nguyen traces how these layered inner conflicts are reckoned with inside the process of finding shared symbols and naming oneself from within another’s regime. 　　Assembling a crew of teenaged Polish dancers who perform original choreography set to music and lyrics co-written by the artist, she looks at both the exaltation and erasure of personal traumas at play in the process of representation, identity building, and the formation of a shared nation space. The melodramatic pull of the spectacle is disrupted by the voice-over, culled from various and often contradictory writings on revolution by Ulrike Meinhof, Hannah Arendt, Mao Zedong, and others.

一个有英雄梦的男孩和一个受到同学们欺凌的女孩成为了朋友，直到有一天他必须做出一个选择，站在女孩一边还是同学们一边。

一个有英雄梦的男孩和一个受到同学们欺凌的女孩成为了朋友，直到有一天他必须做出一个选择，站在女孩一边还是同学们一边。