大導演嚴俊根據施耐庵著名章回小說《水滸傳》第二十回〈宋江怒殺閻婆惜〉改編。宋徽宗宣和年間，朝政腐敗，各地民不聊生，閻惜姣（李麗華）隨父母自魯西逃荒鄆城，閻父經不起長途跋涉，病死客店。父死無以為殮，惜姣逼得賣身葬父；宋江（嚴俊）路過聞得哀音，動了惻隱之心，慨然濟助。惜姣辦畢喪事，親向宋江獻身；宋江遂買下烏龍院，與惜姣母女同住。宋江之徒張文遠（梅硯生）垂涎惜姣美貌，趁宋江公務在外，設計姦污惜姣。宋江回來誤會惜姣與文遠私通，向惜姣大興問罪之師；惜姣為表心跡，死於宋江利刃之下。惜姣死後化成厲鬼，對文遠窮追不捨……

该剧叙述民女郑小姣遭继母吴氏迫害，被上山采药的秀才桂中必相救在家养伤，郑小姣感恩不尽，与桂中必订下百年之好。大比之年桂中必进京赶考中状元，被赵太师看中，欲招赘为婿，扣留府中，桂府投送喜报的家丁误宿吴氏开的酒店，喜报被盗改为休书，惹起风波。赵太师得知郑小姣是桂中必妻子，遂生杀害之心，多亏丫环春兰救助，免遭罹难。桂中必思念郑小姣，乘机逃出。郑小姣到铁佛阉出家为尼，赵太师带兵丁追捕桂中必，打死桂母，抓走桂中必，郑小姣不明真相误认为桂中必杀妻弑母，发誓报仇。女尼月华仗义勇为，传授郑小姣治病本领。适逢皇太后病重，招募名医，月华遂叫郑小姣女扮男装，进宫献药，诉冤除奸。历经多种磨难，郑小姣报得大仇，与桂中必尽释前疑，双双回归故里。

Omens Studios debuted Soft Rain at several international film festivals, where the animated short film was welcomed with acclaim. 　　Directed by Sacha Goedegebure, Soft Rain portrays a middle-aged man suffering from depression as he is caught in the rain on his way to work. When a cheerful woman offers him to share her umbrella, he is introduced to a different perception of reality. The film is Omen Studios’ fourth original short. 　　Thus far, the film has received 11 award wins, including Best Short Film at the Asian TV Awards and Best International Movie at the SoCal Film Awards, Best Animation at the Amsterdam Short Film Festival, Best Animation at the Tokyo Short Film Festival, Best Animation at Moscow Shorts, and Best Short Film at Five Continents International Film Festival, among others. 　　Chi Sim Tang, CEO of Omens Studios, remarked, “We are happy that Soft Rain is resonating with audiences at international film festivals. The animated story takes a look from a different perspective into what it’s like to battle with your mental health and the importance of being kind to each other, both of which are universally relevant topics, especially in the current times.”

阮流苏在大四这年，因父亲自杀，男友背叛，母亲癌症等一系列家庭变故急需用钱。斯见微留学回国后，得知自己高中的暗恋对象阮流苏陷入缺钱窘境，故意发布一则招聘公告诱其上钩。阮流苏果然前来面试，成为了斯见微的陪读兼私人保姆。

阮流苏在大四这年，因父亲自杀，男友背叛，母亲癌症等一系列家庭变故急需用钱。斯见微留学回国后，得知自己高中的暗恋对象阮流苏陷入缺钱窘境，故意发布一则招聘公告诱其上钩。阮流苏果然前来面试，成为了斯见微的陪读兼私人保姆。

《軟小說》無疑是挑戰並定義了七零年代末女性意識發展的重要作品，是由導演齊克．斯特蘭德和五位女性共同創作出的性別絮語。以「軟性虛構」為經緯，女性經驗為核，站在手持攝影機後方的導演成為真摯的聽者，跨越紀錄者與被攝者、真實與虛構之間的界線，讓女性複雜而豐富的情慾、幻想、癮史、創傷與痛苦，一切，在觀者面前緩緩舒展蔓生至盤結成集體經驗的一部分。 　　片中有抽去龐大細節而顯得離散的敘事和獨白，每個段落在導演特別編排下，皆挑戰了觀眾對於鏡頭前人物的理解與想像。《軟小說》是少數從視覺語言、敘事與想像，到聲音設計皆以女性為主體的作品，如一場放大感官體驗的溫柔愛撫；如一首由民族誌的紀錄意念編織出的實驗影像詩。