After being murdered by a burglar, a couple return as spirits to care for their two young children. They also seek revenge against their murderer and try to prevent their house from being demolished.

在一所大房子内，淘气的大猫杰斯帕正在戏耍棕色的小老鼠金克斯。金克斯拼尽全力，可是始终逃不出杰斯帕的猫爪，真是受尽折磨。在一次猫鼠追逐中，杰斯帕不小心碰碎了走廊拐角的花盆，结果遭到女主人一通训斥。而且一旦他再打碎任何东西的话，就会被无情地赶到外面。得知这一消息，金克斯开始 有意地破坏屋里的瓷器，这可令杰斯帕慌了手脚…… 　　本片为“猫和老鼠（Tom & Jerry）”系列首部作品，也是该系列首部获得奥斯卡提名的动画（最终赢得当年奥斯卡最佳动画短片奖的是米高梅另一部作品“The Milky Way”）。此时片中的猫名叫杰斯帕（Jasper），而小老鼠则没有名字，非官方的名字叫金克斯（Jinx）。

艾丽西娅是一名年轻的房地产经纪人，她偶然发现了一栋旧公寓楼，并计划在那里与男友西蒙进行一次秘密而浪漫的会面。但是他们不知道，出租人已经派了一些杀人犯去杀最后剩下的房客。当艾丽西娅和西蒙当场抓到他们时，他们被迫逃跑、躲藏并为自己的生命而战。

Another of Mike Leigh's efforts in the Play for Today series. Home Sweet Home is the he tragic-comic tale of a lonely postman, the social workers who chivvy him about his estranged teenage daughter, and his secret affairs with the wives of his fellow postmen. 　　"Though the social and economic situations of Leigh's characters are invariably specified, they are not determinative. In his view, institutions don't cause our problems and institutions cannot solve them. Nothing beyond the structure of our own thoughts and emotions can be blamed for our predicament and nothing outside of ourselves can remedy it. The poorest of Leigh's characters could win the lottery, or the richest be forced out onto the streets, without their basic dramatic problems changing. 　　One only has to compare Ken Loach's Ladybird, Ladybird with Leigh's Home Sweet Home or his short, Probation, for the difference between the two viewpoints to be clear. Whereas Loach mounts an institutional critique, the social systems and bureaucracies in Leigh's work are only individuals writ large. Home Sweet Home dramatizes the relationship of two social workers, Dave and Melody, to a client, Stan, and his daughter Tina, but for Leigh the social workers are ultimately just messed-up people. One might say that while Loach looks at the effect, Leigh studies the cause. Loach studies bureaucracies; Leigh examines the individual qualities that make bureaucracies the way they are. The main characters in Ladybird, Ladybird are victims of a social agency's depersonalizing understandings. Leigh refuses to make Stan and Tina victims of anybody or anything. Home Sweet Home makes clear that, even if all of the social workers were to disappear from the universe, Stan and Tina's relationship would not improve one whit (and in fact would very likely get worse, since in the absence of a pushy, intrusive, boorish Melody, Tina would get no visits or trips home at all). 　　There is an ultimate fairness in Leigh's view of life. We get what we are. Nothing is inflicted on us (just as nothing outside of ourselves can save us). We create our own problems and we ourselves must solve them. It would be hard to imagine a view of experience more at odds with the blame-games played by most cultural studies critics. Leigh's characters can never blame anything or anyone–least of all "the system." External forces (figured by ever fashionable ideological concepts like "power," "gender," and "class") have no ultimate authority over what we are. We are responsible for our own fates. The enemy, if there is an enemy, is inside. Odd as it may sound to say it, the writers on cultural studies and neo-Marxist filmmakers like Loach are actually more optimistic than Leigh, for while the social-work bureaucracy (Loach's target) may conceivably be reformed, the human heart and mind (Leigh's subjects) are all too deplorably (and exultantly) what they are for all eternity. I would argue that the institutional critique is in fact the simpler, more superficial, and more naive way of understanding these situations. The labyrinths of the human heart are far more tortuous and Byzantine than the corridors of power that constitute the welfare system. The bureaucracies of the imagination are far subtler and more insidious than those of any man-made institution. And if you say you don't see that or don't understand how that could possibly be, why that is precisely what a work like Home Sweet Home exists to show...." 　　–Excerpted from Ray Carney, "The Films of Mike Leigh: Embracing the World "

Chile, 1973. Pinochet's junta coup . Spouses of Americans fall into the thick of events. In one scene shows the famous stadium in Santiago, turned into a concentration camp. Military arrested women, which after that are humiliated ...

大学英国文学讲师黄大宇（朴勇宇饰）在工作中是个十分称职的人，而且他温柔体贴的性格也可以称得上是好男人的表率。这样的男人应该是很受女人欢迎的，可他却从没有真正的恋爱过一次。只因为他有个不能和女人恋爱的毛病。他就在这样的状况中生活到了而立之年。直到30岁后，他才发觉自己的生活过于单调，缺乏调剂，而且遇到事情连一个可以商量和依靠的人都没有，十分的寂寞。大宇向朋友成植提起这件事，于是在成植的安排下，大宇贸贸然的便向准备前往意大利留学，很有魅力的美术系学生李美娜（崔江姬饰）提出了约会的请求。这次约会大宇本没有抱什么希望，可令他没想到的是，美娜居然接受了他的约会。 　　大宇谈恋爱时的表现让美娜有些犹疑，他的表现稚嫩得甚至有些笨拙。他第一次恋爱的表现十分不佳。但最终，他不加掩饰的纯与真还是感动了美娜，两人的爱情热烈地展开了。 　　接触多了以后，大宇发现美娜有些可疑。她说她的兴趣是看书，可连陀思妥耶夫斯基的《罪与罚》也不知道，学美术专业的她居然认不出《蒙德里安》。她每次出门都会拎着一个沉重的袋子出去，回来时又总是全身都是泥。大宇还发现，美娜的本名叫“李美子”，而不是他所知道的“李美娜”。美娜的前任男友在这时又突然出现。这么多的疑点让大宇非常苦恼。美娜的真实面貌到底是怎样的呢？是不是这里面有着什么不可告人的秘密呢？原来——

大学英国文学讲师黄大宇（朴勇宇饰）在工作中是个十分称职的人，而且他温柔体贴的性格也可以称得上是好男人的表率。这样的男人应该是很受女人欢迎的，可他却从没有真正的恋爱过一次。只因为他有个不能和女人恋爱的毛病。他就在这样的状况中生活到了而立之年。直到30岁后，他才发觉自己的生活过于单调，缺乏调剂，而且遇到事情连一个可以商量和依靠的人都没有，十分的寂寞。大宇向朋友成植提起这件事，于是在成植的安排下，大宇贸贸然的便向准备前往意大利留学，很有魅力的美术系学生李美娜（崔江姬饰）提出了约会的请求。这次约会大宇本没有抱什么希望，可令他没想到的是，美娜居然接受了他的约会。 　　大宇谈恋爱时的表现让美娜有些犹疑，他的表现稚嫩得甚至有些笨拙。他第一次恋爱的表现十分不佳。但最终，他不加掩饰的纯与真还是感动了美娜，两人的爱情热烈地展开了。 　　接触多了以后，大宇发现美娜有些可疑。她说她的兴趣是看书，可连陀思妥耶夫斯基的《罪与罚》也不知道，学美术专业的她居然认不出《蒙德里安》。她每次出门都会拎着一个沉重的袋子出去，回来时又总是全身都是泥。大宇还发现，美娜的本名叫“李美子”，而不是他所知道的“李美娜”。美娜的前任男友在这时又突然出现。这么多的疑点让大宇非常苦恼。美娜的真实面貌到底是怎样的呢？是不是这里面有着什么不可告人的秘密呢？原来——

苏青鱼穿越进《惊悚降临》这本书里，知道三天后诡异世界降临，便给自己烧数亿的冥币和贡品。 诡异降临，她成为全球最富有的活人。 副本开启，诡异横行，苏青鱼要通关副本，探查这个世界的真相。 甜蜜的家怪谈开启： 欢迎来到甜蜜的家，这是一个幸福大家庭。为了确保平凡的生活继续下去，请您务必遵守以下规则，扮演好自己女儿的角色。如果违反，后果自负。 一身反骨的苏青鱼给全家包了个大红包，在家人的鞠躬中，离开家门。