许多土地庙都因为有求不应逐渐成为荒凉之地，可是有座挂着“有求必应”匾额的土地庙却从没断过香火，因为这座庙里的土地公婆老两口会想方设法满足人们的祈愿。 某月初五，烈日当空，土地公吃过腾云豆上天见玉帝，庙里只剩土地婆一人。船夫、果园主、农夫和小商贩分别来求刮风、不要刮风、下雨和不要下雨时，土地婆想起土地公临别时的话，一一满足了他们的要求，可如此一来却是谁的要求都满足不了。一气之下，土地婆砸了匾额，土地公回来后大吃一惊。问明情况后，土地公笑呵呵说有办法将问题解决……

马年为城中有名的风水命理大师，与妻子朱玉晶育有五名子女。大男子与妻子貌合神离;二女儿自我分歧于一场姐恋;小男子自小被人拐走，却在偶然机会下与娘成了忘年之交，二人却殊不知眼前人便是本人的至亲。新春佳节，马家各人能否排难解纷、心想事成、有求必应呢?

马年为城中有名的风水命理大师，与妻子朱玉晶育有五名子女。大男子与妻子貌合神离;二女儿自我分歧于一场姐恋;小男子自小被人拐走，却在偶然机会下与娘成了忘年之交，二人却殊不知眼前人便是本人的至亲。新春佳节，马家各人能否排难解纷、心想事成、有求必应呢?

小鬼头当家，24 小时全程作主不中断。 　　艾莉森和卡洛斯觉得他们老是对自己的小孩和同事说「不」，于是决定给三个孩子一个「有求必应日」：他们将在这 24 小时内对小孩言听计从。两人却万万没料到自己会因此在洛杉矶疲于奔命，踏上一场翻天覆地的冒险；更令人意外的是，这场冒险拉近了全家人之间的距离，家人间的情感也因此紧密相依。本片请到珍妮佛·嘉纳、艾格·雷米瑞兹、珍娜·奥蒂嘉、朱利安·勒纳和爱芙莉·卡格尼拉同台飙戏。

一家成人用品销售公司的女员工，不仅要接受客户的语言侵犯，还要忍受上司的无礼剥削，甚至还要为外国黑人服务...

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.