沈念念坚称自己只育一子，幼儿园缴费系统却跳出双份记录。许老师当着她的面念出两个名字，她整个人僵在原地。她透过教室窗看见那个叫沈屿宁的男孩因玩具争执嘶吼，眉眼与丈夫高度重合。她没有当场闹，回家翻出丈夫近三年的信用卡副卡流水。证据指向他在外养了另一个家。她在律师陪同下摊牌，丈夫跪求她看在孩子份上。她抱着儿子搬进父母家，幼儿园那笔多出来的学费她全部原路退回。

暂无剧情简介

水原小学四年级学生禹荣达的父母出门经商半年没有来信，荣达靠祖母每天捡破烂挣来的钱勉强生活着。祖母生病，无法支付3个月学费的荣达没有去学校。他朋友的姐姐贵兰把米送到了荣达家，班主任田代老师也来家访，把学费交给了祖母。但是房东把那笔钱拿去顶了房租，所以荣达又不能去学校了。祖母问荣达， 能不能去平泽的姨妈家取学费。 早上荣达很早就乘牛车出发，在居酒屋取水，走了6里（约20公里）的路，平安到达了平泽的姨妈家。第二天，荣达拿到了学费和大米坐公共汽车回来，跟祖母打了招呼后，就跑到学校交学费。田代老师让荣达看了同学们为他攒钱的友情箱，说今后不要担心学费，要好好学习。荣达从学校回来的时候，收到了父亲的来信，信上说母亲生病了所以没能联系荣达，同时还寄来了一个装有钱、衣服和鞋子的包裹。农乐队过盂兰盆节期间，荣达的父母回到了故乡。

农村女孩小彤以全省第二名的成绩考入清北大学，母亲为凑齐学费四处奔走。前夫冷漠、大哥讥讽、小妹推诿，人情冷暖尽显。最终，妹夫伸出援手，兑现了多年前的恩情。这是一段关于母爱、尊严与感恩的感人故事。

九零年的夏天，南方贫困山村西田村，18岁的晨曦凭借一纸江城市大学录取通知书，成为了全村唯一的“女金凤凰”，备受乡亲们的吹捧和久未往来的亲戚们殷勤讨好。然而，当夜幕降临，喜悦的泡沫瞬间破灭。母亲翻遍家中，仅凑得326元，距离1100多元的学费和住宿费，仍有800元的巨大缺口。这笔天文数字，在重男轻女的西田村，如同泰山般压得晨曦喘不过气。母亲咬牙鼓励她向亲戚借钱，但晨曦心中却充满不安。果然，第二天她敲开大伯母家大门，迎接她的是此生最刻骨铭心的羞辱。在众人轻蔑的眼神和讥笑声中，晨曦深感屈辱，最终绝望地走向河流试图结束生命。就在她沉入水中的一刻，一双沾满泥巴的手，死死拽住了她，为她的人生带来一丝转机。

丽兹和班尼都出生在一个有色人种的家庭。在一次文学聚会上，丽兹遇到了年轻英俊的白人知识青年托尼，带着一种轻浮的热情，涉世未深的丽兹弃原来的追求者不顾，投入了托尼的怀抱，并与托尼发生了性关系。但是，当托尼发现丽兹并非白人，尤其当他看见丽兹黑皮肤、厚嘴唇的大哥，厌恶之感顿生。丽 兹痛苦了一段时间，终于，一个黑人青年的追求把她从深渊中拉了出来。丽兹的二哥班尼生性叛逆，总是与三两个朋友一起浪迹街头，虽然自己不是白的，但他有时也厌恶黑人的粗俗，对种族之间的问题，他似乎只是在街边边走边看，超脱，但不可避免的颓废。

《影子》是50年代-60年代初波兰电影学院派的代表作，与Andrzej Munk的《倒霉》《铁轨上的男人》等片齐名。是卡瓦莱罗维奇最好的作品之一。获嘎纳金棕榈和英国学院奖最佳影片提名。 The first screenplay, based on one of his own stories, by noted writer Alexander Scibor-Rylski, SHADOW is a Rashomon-like investigation into the life of a man found dead after having been hurled from a train. As security agents, policemen and a medical examiner begin to piece together his identity, three accounts emerge: one set during the war, one in the immediate aftermath, and one in then contemporary Poland. In each, the murdered victim seems to have been a mysterious, ambiguous presence, of shifting loyalties and suspicious connections, who invariably set himself against the ruling powers of the time. Critics at the time attacked the film for its depiction of a world rife with secret agents and hidden enemies - a favorite Stalinist theme - yet the film seems rather to insist on how heroism or villany are so often matters of point of view and timing. Polish filmmaker Jerzy Kawalerowicz was once considered one of his country's most talented post-WW II directors, noted for his powerful, detail-oriented imagery. Kawalerowicz was versatile and his subjects ranged from historical dramas to intense psychological studies. He made his directorial debut in 1951 after working as an assistant director. In 1955 Kawalerowicz was appointed head of the prestigious KADR production unit. He held the position again in 1972. In 1983, Kawalerowicz alienated himself from many of his peers by signing communist government-generated reports condemning all filmmakers aligned with the Solidarity Movement and promoting the destruction of production units run by long time associates Wajda and Zanussi. Born in Gwozdziec, Poland (now Gvozdets, Ukraine), Jerzy Kawalerowicz was noted for his powerful, detail-oriented imagery and the depth of ideas in his films. After working as an assistant director, he made his directorial debut with the 1951 film The Village Mill (Gromada). He was a leading figure in the Polish Film School, and his films Shadow (Cien, 1956) and Night Train (Pociag, 1959) constitute some of that movement's best work. Other noted works by Kawalerowicz include Mother Joan of the Angels (Matka Joanna od aniolów, 1961) and a 1966 adaptation of Boleslaw Prus' historical novel, Pharaoh, which was nominated for the Academy Award for Best Foreign Language Film.

《影子》延续了阿彼察邦一直以来对于感知以及记忆的兴趣。影片描绘的场景中，主角跟随观众一起被困在一个房间里。他们找不到逃脱的路，只能互相渗透着彼此的梦境。追索着他近来的电影作品《幻梦墓园》（2015）和第一件表演作品《Fever Room》（2015-2016）的脉络，此件作品同样反映着泰国动荡的国家局势，并向我们描绘出一幅惨淡的未来图景：人们需要不断地回避现实。观众游走在见与不见、事实与虚幻、空间与虚空的交错重叠之中。 此件作品曾在日本崎玉三年展（2016）以及自同年开始的全球巡回个展“狂中之静”中展出。

《影子》是埃德加·赖特首次执导的动画片，该片计划于2019年上映！

Synopsis At a crowded airport, Ahlam, a 14-year-old mother, is running away from Baghdad, the only place she’s ever known. As she fights the shadows lurking around her, she reflects on her journey to reclaim her life. Director’s statement I have a recurring nightmare of running from a faceless man. When I plead for help, people ignore me. This reflects the normalisation of violence against women. Recently, a Jordanian woman named Ahlam was murdered by her father. Her name means “dreams,” like the protagonist of Shadows. Our Ahlam is a survivor. I met her while filming a documentary with teenage immigrant girls in Germany. She had run away from her family and wanted to share her story. Exposing Ahlam’s story posed ethical dilemmas, but her strength compelled me. Animation allowed us to recount her past and visualise her subjective point of view. Domestic violence and child marriage are rarely discussed unless tragedies occur. I want Shadows to expose injustices and pay tribute to Ahlam’s courage, highlighting her refusal to let her circumstances define her life’s journey.