老太太的意外受伤住院，竟然引发了家庭内部的一场小台风：一向孝顺的大儿媳妇阿珍被家人误会蒙冤，和大儿子阿强在这个时候闹起了离婚。想要攒钱买房走火入魔了的小儿媳妇阿花和儿子阿勇偷了老太太的棺材本。女儿小红虽然孝顺但是做事冲动只知道火上浇油，无意中挑起了好多争端……随着一出出家庭闹剧展开，这个家还能安稳长久吗？

詹姆斯，下来他的运气和绝望的一些快速现金，同意驾驶一辆小卡车横跨全国。 他很快意识到，他犯了一个巨大的错误，并不经意地卷入一个危险的人口贩运环。不可能的英雄风险，关闭贩卖环节，并保存她爱上的女人。

Desperately in need of money in hopes of regaining custody of his daughter, James (Joel Smallbone) embarks on a cross-country delivery for cash-no questions asked. But when he discovers what he is delivering is actually who, the questions in his mind begin haunting him mercilessly. James becomes an unlikely hero and must fight to save the innocence and lives of the two young women. One of which he finds himself falling in love with.

Feature-length documentary about avant-garde Los Angeles-based record label Stones Throw Records. Under the direction of founder and wor ld-renowned DJ Peanut Butter Wolf, Stones Throw has consistently released critically acclaimed, left-of-center albums since its founding in 1996. Catalog highlights include hip-hop classics like Madvillain's Madvillainy, Dilla's Donuts and Quasimoto's The Unseen. Drawing on live concert footage, never-before-seen archival material, inner-circle home video and photographs and in-depth interviews with the folks who put Stones Throw on the map, OUR VINYL WEIGHS A TON will delve deeper into the label's enigmatic artists, history, culture and global following

Feature-length documentary about avant-garde Los Angeles-based record label Stones Throw Records. Under the direction of founder and wor ld-renowned DJ Peanut Butter Wolf, Stones Throw has consistently released critically acclaimed, left-of-center albums since its founding in 1996. Catalog highlights include hip-hop classics like Madvillain's Madvillainy, Dilla's Donuts and Quasimoto's The Unseen. Drawing on live concert footage, never-before-seen archival material, inner-circle home video and photographs and in-depth interviews with the folks who put Stones Throw on the map, OUR VINYL WEIGHS A TON will delve deeper into the label's enigmatic artists, history, culture and global following

刘桂兰辛苦半生，却在获得老宅拆迁款后，遭遇儿女轮番索财。心软交钱后，反被儿子一家冷待驱赶，投奔女儿亦遭拒绝，最终被强行送入养老院。不料她实为该院匿名创办人，名下产业价值千万。儿女得知后争相讨好，却被她彻底识破贪婪面目。刘桂兰毅然断绝关系，将养老院转为慈善，免费收容被弃老人，并助其维权。在儿女闹事抹黑时，她拿出证据将其绳之以法，最终在老人们的陪伴中寻回温暖与价值。

From http://theculturalgutter.com/movies/kamikaze_hearts_of_gutter_punk_lesbians.html 　　Robin Bougie is the creator of Cinema Sewer magazine. 　　Kamikaze Hearts of Gutter Punk Lesbians 　　by Robin Bougie 　　Make-believe, addiction, despair, two-bit sleaze and two-bit dreams.During the 揝haron Mitchell film festival?held at the Coolidge Corner Theater in Boston on June 6th 2000, the legendary porn queen showed clips from her XXX films spanning her 3 decades long career and provided a running commentary for the audience. Sharon held the crowd in rapt attention while she revealed the title from which each clip was taken, the director and, when she remembered, anecdotes about the cast and what drug she was on at the time the footage was shot. It was usually heroin or marijuana, and in some cases, both. One such example was the ultra-rare documentary KAMIKAZE HEARTS, which also depicted Mitchell ?then addicted ?passionately defending drug use. 　　揔amikaze Hearts? wrote the L.A. Weekly of the now-forgotten film back in 1986, 揹rags you to a certain place ?the world of lesbian-junkie porn stars ?and keeps you there for 80 minutes. If you抮e excited by that place, or even if you find that place disturbing, you抣l like this film because it抯 so relentlessly inside the world of naked bodies, make-believe, addiction, despair, two-bit sleaze and two-bit dreams.? 　　It抯 a documentary, but director Julie Bashore抯 film is harder to peg than simply that. This one-of-a-kind 16mm porn industry time capsule shifts nearly unnoticed between the real and unreal, as Mitchell and company become actors portraying themselves in reenactments of scenes leading up to and following the footage a documentary camera crew captured while behind the scenes of a cum-coated mid 80抯 porn film. 　　And when I say 慴ehind-the-scenes? I mean it. Usually unseen crew members are brought out into the open as they capture the performers either fucking one another or waiting around to get the chance to do so. Look, there抯 a young Marian Wilde holding the boom. She would later go on to be foley editor on dozens of Hollywood films such as THE PHANTOM MENACE and RAIN MAN. Sitting on the sidelines watching drug-addled Sharon flop on the carpet and contort herself into a nearly nude ball and go 揘yha nyha nyha?is still photographer Vincent Fronczek. Listen very carefully in an early scene, and hear small fry fuck-actress Jennifer Blowdryer having a background conversation where she unwittingly admits that she started in porn when she was only 17, and falsified age documents in order to work. 　　When the film premiered (and won the 揃est Feature Film?at the Torino Intl Gay and lesbian film fest) The Chicago Reader抯 Johnathan Rosenbaum called it 揂lternately distressing, instructive, contestable, and fascinating? and he抯 totally right. Mitchell comes off as seasoned and cynical, while also talks of being a shame-free exhibitionistic personality in front of the camera and otherwise. Her lover and co-star in KAMIKAZE HEARTS is Tigr (pronounced 揟igger? Mennett, production assistant and porn actress who was featured in roughly forty 70抯 and 80抯 pud-pullers of her own. Her career ended right about the time this film came out in 1986, but look for her in ball-drainers such as DR. BIZARRO, 8 TO 5 (as Chelsea McCleane), and MATINEE IDOL (as Chealsea Manchester). The unusual blend of reality and fiction she and Mitchel bring to KAMIKAZE HEARTS tastes like skid row while laying bare the stormy gutter-punk relationship between the two women. 　　揥hen I first met her I thought she was sleazy?Tigr tells the audience of Mitchell, (whom everyone calls 慚itch?for short) 揝he needed to make a living, she was fucking on camera - I thought she was just another dumb porno slut. But I was wrong.? 　　Filmed on location in San Francisco, the notorious original home of the XXX film industry, the two scrounge around in a semen-soaked seedy world colored by strip joint punch-outs, after party arguments, kinky sex, and egotistical sleaze-ball directors. These two are thrillingly unapologetic about the fact that they use heroin as a shield while traversing through this gritty 24 hour party lifestyle, and the camera is there to catch what it can, and reenact what it can抰. 　　揟he camera抯 presence?wrote Rosenbaum, 揾as a shifting role in the film, moving from seemingly impartial witness of certain events to stimulus and catalyst for certain others, and this tends to confuse and change one抯 relationship to both the film and its characters.? 　　Mitchell initially introduced Tigr to intravenous drugs years previous to the filming of KAMIKAZE HEARTS, and in one of the final scenes in the film, the two lie on a bed and hit up while on camera. Mitchell brings the point home with the kind of wisdom only found in junkie babble. 揟his is the truth.?she says as she stares into the camera after pulling the needle out of her arm, 揧ou got what you want. You did not have to put it in. You could give it to me. I抣l put it in my movie. There is no legitimate or illegitimate anything. No one dragged you into anything. This [she holds up a needle] was my dick and I fucked her with my dick. And I waited for this relationship to mature. This is a movie within a movie within a movie. This is timeless.?

From http://theculturalgutter.com/movies/kamikaze_hearts_of_gutter_punk_lesbians.html 　　Robin Bougie is the creator of Cinema Sewer magazine. 　　Kamikaze Hearts of Gutter Punk Lesbians 　　by Robin Bougie 　　Make-believe, addiction, despair, two-bit sleaze and two-bit dreams.During the 揝haron Mitchell film festival?held at the Coolidge Corner Theater in Boston on June 6th 2000, the legendary porn queen showed clips from her XXX films spanning her 3 decades long career and provided a running commentary for the audience. Sharon held the crowd in rapt attention while she revealed the title from which each clip was taken, the director and, when she remembered, anecdotes about the cast and what drug she was on at the time the footage was shot. It was usually heroin or marijuana, and in some cases, both. One such example was the ultra-rare documentary KAMIKAZE HEARTS, which also depicted Mitchell ?then addicted ?passionately defending drug use. 　　揔amikaze Hearts? wrote the L.A. Weekly of the now-forgotten film back in 1986, 揹rags you to a certain place ?the world of lesbian-junkie porn stars ?and keeps you there for 80 minutes. If you抮e excited by that place, or even if you find that place disturbing, you抣l like this film because it抯 so relentlessly inside the world of naked bodies, make-believe, addiction, despair, two-bit sleaze and two-bit dreams.? 　　It抯 a documentary, but director Julie Bashore抯 film is harder to peg than simply that. This one-of-a-kind 16mm porn industry time capsule shifts nearly unnoticed between the real and unreal, as Mitchell and company become actors portraying themselves in reenactments of scenes leading up to and following the footage a documentary camera crew captured while behind the scenes of a cum-coated mid 80抯 porn film. 　　And when I say 慴ehind-the-scenes? I mean it. Usually unseen crew members are brought out into the open as they capture the performers either fucking one another or waiting around to get the chance to do so. Look, there抯 a young Marian Wilde holding the boom. She would later go on to be foley editor on dozens of Hollywood films such as THE PHANTOM MENACE and RAIN MAN. Sitting on the sidelines watching drug-addled Sharon flop on the carpet and contort herself into a nearly nude ball and go 揘yha nyha nyha?is still photographer Vincent Fronczek. Listen very carefully in an early scene, and hear small fry fuck-actress Jennifer Blowdryer having a background conversation where she unwittingly admits that she started in porn when she was only 17, and falsified age documents in order to work. 　　When the film premiered (and won the 揃est Feature Film?at the Torino Intl Gay and lesbian film fest) The Chicago Reader抯 Johnathan Rosenbaum called it 揂lternately distressing, instructive, contestable, and fascinating? and he抯 totally right. Mitchell comes off as seasoned and cynical, while also talks of being a shame-free exhibitionistic personality in front of the camera and otherwise. Her lover and co-star in KAMIKAZE HEARTS is Tigr (pronounced 揟igger? Mennett, production assistant and porn actress who was featured in roughly forty 70抯 and 80抯 pud-pullers of her own. Her career ended right about the time this film came out in 1986, but look for her in ball-drainers such as DR. BIZARRO, 8 TO 5 (as Chelsea McCleane), and MATINEE IDOL (as Chealsea Manchester). The unusual blend of reality and fiction she and Mitchel bring to KAMIKAZE HEARTS tastes like skid row while laying bare the stormy gutter-punk relationship between the two women. 　　揥hen I first met her I thought she was sleazy?Tigr tells the audience of Mitchell, (whom everyone calls 慚itch?for short) 揝he needed to make a living, she was fucking on camera - I thought she was just another dumb porno slut. But I was wrong.? 　　Filmed on location in San Francisco, the notorious original home of the XXX film industry, the two scrounge around in a semen-soaked seedy world colored by strip joint punch-outs, after party arguments, kinky sex, and egotistical sleaze-ball directors. These two are thrillingly unapologetic about the fact that they use heroin as a shield while traversing through this gritty 24 hour party lifestyle, and the camera is there to catch what it can, and reenact what it can抰. 　　揟he camera抯 presence?wrote Rosenbaum, 揾as a shifting role in the film, moving from seemingly impartial witness of certain events to stimulus and catalyst for certain others, and this tends to confuse and change one抯 relationship to both the film and its characters.? 　　Mitchell initially introduced Tigr to intravenous drugs years previous to the filming of KAMIKAZE HEARTS, and in one of the final scenes in the film, the two lie on a bed and hit up while on camera. Mitchell brings the point home with the kind of wisdom only found in junkie babble. 揟his is the truth.?she says as she stares into the camera after pulling the needle out of her arm, 揧ou got what you want. You did not have to put it in. You could give it to me. I抣l put it in my movie. There is no legitimate or illegitimate anything. No one dragged you into anything. This [she holds up a needle] was my dick and I fucked her with my dick. And I waited for this relationship to mature. This is a movie within a movie within a movie. This is timeless.?

张译、潘斌龙新片化身“没头脑和不高兴”组合，因一次追债意外成为六岁孩童的监护人，由此开启了长达十多年的硬核育女之路，三人的命运紧密相连。 “石头”石振邦（张译 饰）和杨武（潘斌龙 饰）这对落魄兄弟经营五金店艰难维生，为追讨欠款，他们不得不暂时照看欠债人的孩子芊芊。两人在与芊芊的相处中从最初嫌弃“拖油瓶”竟潜移默化地转变成千方百计“为女儿战斗”，生活粗放的他们内心也变得越来越柔软...

“石头”石振邦和杨武这对落魄兄弟经营五金店艰难维生，为追讨欠款，他们不得不暂时照看欠债人的孩子芊芊。两人在与芊芊的相处中从最初嫌弃“拖油瓶”竟潜移默化地转变成千方百计“为女儿战斗”，生活粗放的他们内心也变得越来越柔软……