在一个相当怪诞的医院环境中，发生了一起刑事案件——那里发生了一起谋杀案。其中一位医生揭露了犯罪的真正原因，并查明了凶手。然而，这部电影与其说是关于调查，不如说是关于那些在医院里生活的人们，导演用相当独特甚至怪异的角色填满了这个选定的场景……导演尤拉伊·赫兹（Juraj Herz）也尝试在声音方面进行创新——他甚至用其他人的声音重新配音了那些熟悉的面孔。

漫长的公路上，一辆豪华轿车载着两个各有心事的人寂寞奔驰。男人（连凯 饰）和女人（罗震环 饰）来到海边，他们表情落寞，心事重重，曾经美好的爱情似乎走到尽头，即使有着诸多的不舍，可总要面对断掉的那一刻。女孩脱下鞋，慢慢爬上附近的一块礁石。一席白色连衣裙的她如此美丽，宛若天使，可也只是回眸望了男人一眼，便毅然决然跳入海里。男人大惊失色，连忙下海寻找，但最终一无所获。不知为何他不愿继续寻找，甚至有了点如释重负的感觉。湿淋淋的男人独自驾车回到公司，他全身心投入到工作、约会、美酒、应酬之中。而另一边，女孩爬上了岸，慨叹爱情的随风而逝。 　　落泪过后，生活其实仍有继续的理由……

电影《至暴之年》影片讲述在20世纪80年代的纽约，一名野心勃勃的商人被迫与一家腐败的商业机构打交道的故事。

远离东京的地方小镇，15岁的岩崎银（萩原利久 饰）是一个正就读初三的棒球迷，平日里他经常和辍学的阿敏（影山树生弥 饰）和勇纪（中村圭太郎 饰）混在一起。某天，阿银意外收到了同班同学佐田成美（小川纱良 饰）的告白。令阿敏他们感到奇怪的是，阿银似乎对女孩子根本没半点兴趣。表白落空的成美回到家中，结果被母亲律子（宫地真绪 饰）告知不准升学，随后更被律子男朋友神林（木村知贵 饰）逼迫出卖身体。黑暗无望的家庭，逼迫成美想方设法逃离。与此同时，阿银的性取向被父亲（山本刚史 饰）获知，他也感到无形的压力。当成美决定跑到东京寻找父亲时，阿银亦表达了希望随之而去的想法。 　　两个追求幸福的少男少女，展开了他们15岁的秘密旅行……

远离东京的地方小镇，15岁的岩崎银（萩原利久 饰）是一个正就读初三的棒球迷，平日里他经常和辍学的阿敏（影山树生弥 饰）和勇纪（中村圭太郎 饰）混在一起。某天，阿银意外收到了同班同学佐田成美（小川纱良 饰）的告白。令阿敏他们感到奇怪的是，阿银似乎对女孩子根本没半点兴趣。表白落空的成美回到家中，结果被母亲律子（宫地真绪 饰）告知不准升学，随后更被律子男朋友神林（木村知贵 饰）逼迫出卖身体。黑暗无望的家庭，逼迫成美想方设法逃离。与此同时，阿银的性取向被父亲（山本刚史 饰）获知，他也感到无形的压力。当成美决定跑到东京寻找父亲时，阿银亦表达了希望随之而去的想法。 　　两个追求幸福的少男少女，展开了他们15岁的秘密旅行……

Albert and Bruno are in the red, compulsive consumers, over-indebted, they live between petty schemes for one and a personal life adrift for the other. It is in the associative path, which they both take to get their heads above water, that they will come across young rebellious activists, climate alarmists, lovers of social justice and eco-responsibility. More attracted by beer and free crisps than by their arguments, Albert and Bruno will gradually integrate the movement without conviction, if not that of taking advantage of each action and each rebellion to schem and profit from it. Between ideological or suffered minimalism, between overconsumption and happy sobriety, we face the complex simplicity of our future, the oppositions and paradoxes of our time, in short, everything is fine.

Albert and Bruno are in the red, compulsive consumers, over-indebted, they live between petty schemes for one and a personal life adrift for the other. It is in the associative path, which they both take to get their heads above water, that they will come across young rebellious activists, climate alarmists, lovers of social justice and eco-responsibility. More attracted by beer and free crisps than by their arguments, Albert and Bruno will gradually integrate the movement without conviction, if not that of taking advantage of each action and each rebellion to schem and profit from it. Between ideological or suffered minimalism, between overconsumption and happy sobriety, we face the complex simplicity of our future, the oppositions and paradoxes of our time, in short, everything is fine.