老挝电影《巴色无答案》（ไม่มีคำตอบจากปากเช，英文名From Bakse With Love)由曾经执导《你好！琅勃拉邦》的导演Boy Sakchai Deenan（โป๋ย ศักดิ์ชาย ดีนาน）执导。本片女主角扮演者依旧为老挝小姐Kamlee Pirawong，男主角扮演者则为雷麦唐纳（Ray McDonald）。他今年已经在泰国电影《与伽利略一起逃亡》和《鬼五虐》有过演出。 　　导演Boy Sakchai Deenan集编导于一身创作了这部新片。发行此片的为新电影公司SL Film。

老挝电影《巴色无答案》（ไม่มีคำตอบจากปากเช，英文名From Bakse With Love)由曾经执导《你好！琅勃拉邦》的导演Boy Sakchai Deenan（โป๋ย ศักดิ์ชาย ดีนาน）执导。本片女主角扮演者依旧为老挝小姐Kamlee Pirawong，男主角扮演者则为雷麦唐纳（Ray McDonald）。他今年已经在泰国电影《与伽利略一起逃亡》和《鬼五虐》有过演出。 　　导演Boy Sakchai Deenan集编导于一身创作了这部新片。发行此片的为新电影公司SL Film。

《回答》（《The answer about that summer》） 　　各自努力 又在慢慢长大 　　是否能听见 那些“回答” 　　骄阳下用流光溢彩编织出的梦想 　　有过茫然害怕依旧可以大声去唱 　　即使回响着无数个“喂” 　　当轨迹延长 　　当回忆涌起 　　曾经的课桌 　　曾经的操场 　　曾经的林荫路 　　曾经的比赛 　　曾经的江边 　　曾经的放声歌唱 　　曾经的回答 　　都会一一回答

林安齐(官恩娜饰)在男友文鼎去日本念书后认识了日本华侨唐旭川(彭于晏饰)，两人虽互有好感但碍于林安齐对男友一片痴心，所以一直没有进一步的关系。某日，文鼎告知在日本发生车祸，林安齐为了帮在日本的男友偿还车祸产生的庞大费用而为爱援交。事后，在林安齐的无怨无回的付出后，文鼎回台却告诉林安齐要和发生车祸的女生结婚，这却让林安齐和唐旭川的恋情有了新的契机。当两人开始新恋情后，唐旭川意外发现了林安齐援交的事……

林安齐（官恩娜 饰）和男友交往多年，感情一直十分恩爱。男友前往日本念书，林安齐因此结识了名为唐旭川（彭于晏 饰）的日本华侨。虽然林安齐和唐旭川都隐约感到了对方对于自己产生的吸引力，但林安齐因为男友的存在一直和唐旭川保持着距离。 　　一天，林安齐得知男友在日本发生了车祸身受重伤，急需一笔医疗费。为了筹钱，林安齐不得不开始出卖身体干起了援助交际的买卖。在林安齐的资助下，男友康复了，但他康复后的第一件事竟是要和林安齐分手。男友的离开让林安齐和唐旭川之间的感情有了新的进展，但就在两人打得火热之时，唐旭川知道了林安齐灰暗的过往。

出生在一个被黑手党控制的小城里，一名愤怒的年轻女子决意向拆散和囚禁她家人的邪恶力量复仇。

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。

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.

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.