6岁女孩小雅的父亲杨帆在一家公司做摄影师，妻子于2年前因病去世，离开人世前给小雅写了一大箱的信，由杨帆按期寄出。小雅一心以为妈妈在很远的地方,终能回到她身旁。杨帆工作繁忙，又要照顾女儿，常常手忙脚乱。一家儿童杂志的女摄影记者丁艺与杨帆因为工作而巧遇，两人彼此欣赏，相互吸引。种种机会使杨帆和丁艺走得更近。一次外出工作时杨帆因为突发事件赶不回来，小雅发高烧，丁艺彻夜陪护。想起童年身世，丁艺对失去母亲的小雅十分怜爱。两个成年人决定试一试，让丁艺以母亲的身份出现。最初的日子很融洽，但种种破绽随之而来。小雅产生了怀疑，说丁艺不是她的妈妈。真相已被揭开，丁艺决定再做努力……

家庭主妇沈清荷遭妹妹沈清兰纵火谋害，毁容失忆后被救化名林晚秋。十五年后她误入顾家当佣人，因酷似亡母被儿子顾深敌视、沈清兰屡次陷害。林晚秋在顾明远与女儿顾宁的保护下逐渐恢复记忆，暗中收集沈清兰犯罪证据。最终在沈清兰与顾明远的婚礼上，联合李医生、陈老板揭穿其杀人阴谋，顾深为护母挡下致命一击，一家人终相认

家庭主妇沈清荷遭妹妹沈清兰纵火谋害，毁容失忆后被救，化名林晚秋。十五年后她误入顾家当佣人，因酷似亡母被儿子顾深敌视、沈清兰屡次陷害。林晚秋在顾明远与女儿顾宁的保护下逐渐恢复记忆，暗中收集沈清兰犯罪证据。最终在沈清兰与顾明远的婚礼上，林晚秋联合李医生、陈老板揭穿其杀人阴谋，顾深为护母挡下致命一击，一家人终相认。沈清兰锒铛入狱，沈清荷与家人团圆，补办迟到的婚礼。

卡羅和裘莉亞育有三個孩子。卡羅是個長年不在家的工作狂，裘莉亞則是為了全心全意照顧孩子而辭去工作。被家務事壓得喘不過氣的裘莉亞打算放自己十天假。因此，照顧孩子的重擔便落到卡羅身上，無可奈何的他成了「家庭主夫」。媽媽不在家的這10天裡，儘管充滿衝突、災難跟悲劇，卡羅以及孩子也終於藉著這次機會，更了解彼此。

故事讲述了安托万被解雇后，决定留在家中照顾孩子。接下来的两年里，角色发生了互换，面对家人提出的种种要求，他渐渐感到力不从心，精力也大不如前。

中年妇女王春华收到了一张医院寄来的体检单，上面显示她的母亲王秀文患了阿尔茨海默症，即便母亲万般不愿，但在丈夫和儿子的逼迫下，王春华即便不舍但还是将母亲送去了养老院，将母亲送入养老院后，王春华渐渐感觉自己记忆模糊，直到再一次去医院她才知道原来患了老年痴呆症的人是自己。得知此事后，老公和儿子显现出自私的本质，连儿子也嫌弃自己。王春华被赶被赶出了家门，而这时唯一愿意照顾她的，只有从养老院里逃出来的母亲。

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。

Evelyne Morin has known much misfortune in her life. Widowed, after being married to an unscrupulous adventurer, she ends up working as a call-girl in a Montmartre nightclub just so that she can bring up her young son. But Evelyne has hopes of escaping from this degrading life. One evening, she meets Georges, a Canadian friend, whom she once considered marrying. Since she last met him, Georges has become rich and highly respected as a doctor. To conceal her downfall, Evelyne pretends to be a respectable woman, with the help of Paul Mazuraud, an odious man who provides her with the wherewithal for her to keep up this deception. When her son unintentionally gives the game away, Evelyne places him in the care of her Canadian friend and then fades away into the fog...

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.