赵辰阳，大山深处的穷苦青年，怀揣美好梦想，与温柔贤淑的未婚妻周菲菲对未来充满期待。然而，新婚前夕，他惊悉周菲菲竟是骗婚女，且怀有村霸赵自强的孩子。此背叛令他心碎，他愤而离乡，孤身前往都市。在繁华都市中，他无依无靠，却凭借双手和智慧奋斗。这段经历使赵辰阳更坚强成熟，他誓要在都市闯出一番事业，证明自己，也为所受屈辱讨回公道。这段曲折经历，终将成为他人生中最宝贵的财富。

上一世，公婆遭遇绑架危机，苏媛媛毅然拦住正与小三计划露营的丈夫，恳求他前去营救双亲。虽公婆最终得救，但小三不幸丧生。丈夫愤怒之下，将责任全归咎于苏媛媛，并在她即将临盆时狠心地将她推下悬崖。重生归来，苏媛媛决定放手，不再阻拦丈夫的背叛之行。

上一世，公婆被绑架，苏媛媛拦着要跟小三露营的丈夫，要求他去救公婆。最终公婆获救，小三却死了。丈夫将小三的死怪在苏媛媛身上，将即将临盆的她推下悬崖。重生一世，苏媛媛决定不再阻拦要去跟小三露营的丈夫。

婚礼前夜，KTV包厢里，向来沉稳的顾云澈醉酒后拨通了初恋孟媛的电话，伴着《后来》的余音，那句未说出口的告别，成了压垮江轻颜的最后一根稻草。相恋五年，她以为的圆满婚礼，竟是他弥补初恋的铺垫。江轻颜悄无声息退婚，逃回南城老家，断了所有联系。顾云澈追至南城，才惊觉自己早已深爱江轻颜，奈何初恋的纠缠只是一场骗局，而他亲手推开的，是此生唯一的救赎。最终江轻颜放下过往，在南城重启新生，顾云澈只剩无尽悔恨，才懂南城没有回头路，再无轻颜可寻。

公司园区里有间咖啡馆，我喝了三年。那天下午，我照常点了一杯冰美式，喝了一口，发现冰块少得可怜。我礼貌地说，老板娘，能多加点冰吗？她抬起眼，目光像淬了毒，加冰？制冰机不要电费啊！嫌少别喝，大门敞着！整个店里的人都盯着我。我没反驳，静静喝完，结账，走人。第二天，我在部门群里发了条公告，下午茶福利，街对面新开的烘焙店，我买单。300号员工浩浩荡荡地跟着我去了对面。

一段盘踞在燕山山脉上的野长城，形满弓之势，壮美且险峻！夜幕降临，山上摔死人的消息如一支箭射出，使得山下的人犹如惊弓之鸟般慌张，愧疚。

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.