刚满20岁的保琳娜遇到新教牧师让，他已经结婚，有了自己的家庭，但是他们相遇相知相爱。而让只是顺从着他的命运和他失败的婚姻，因为当时的新教压力包围着他们，使他们接受情感的宿命。尽管世事多变，命运弄人，但是爱的力量远远超越了时光的流逝。 　　一部惊人的跨越了三十年的社会记事片，以传统家庭内部冲突和外部社会动荡双重冲击为背景的爱情题材，被导演处理得一波三折。充满旖旎的法国田园风光、华丽服装场景和戏剧化的故事框架，显得影片气势磅礴。这部充满伟大的浪漫主义史诗色彩的电影在很大程度上使导演被人们所熟知，这是一部富含技巧性，古典与现代共融的影视杰作。

刚满20岁的保琳娜遇到新教牧师让，他已经结婚，有了自己的家庭，但是他们相遇相知相爱。而让只是顺从着他的命运和他失败的婚姻，因为当时的新教压力包围着他们，使他们接受情感的宿命。尽管世事多变，命运弄人，但是爱的力量远远超越了时光的流逝。 　　一部惊人的跨越了三十年的社会记事片，以传统家庭内部冲突和外部社会动荡双重冲击为背景的爱情题材，被导演处理得一波三折。充满旖旎的法国田园风光、华丽服装场景和戏剧化的故事框架，显得影片气势磅礴。这部充满伟大的浪漫主义史诗色彩的电影在很大程度上使导演被人们所熟知，这是一部富含技巧性，古典与现代共融的影视杰作。

riko　　由靠周旋于男人身边维持生计的母亲独力抚养长大的宇民(宋承宪饰)不可避免得加入了黑帮，非常重情谊的他想有朝一日脱离黑社会过正常人的生活；对女友念念不忘的度顽(金仁权饰)希望能做到她眼中的“有钱有地位的男人”，想要回来见女友；哲重(权相宇饰)安于现在的打打杀杀的日子，始终令其牵挂放心不下是妹妹。 　　三个朋友企图偷窃敌对帮派头目图曼的钱，在头目康硕的带领下，他们如愿以偿了。但朋友间的裂痕就此开始，宇民凭借对朋友的忠诚和过人的智慧赢得了度顽和的器重，哲重心生嫉妒并一直耿耿于怀，在哲重的通风报信的配合下，他们纷纷中了前来报复的图曼的圈套：康硕的腿被生生切断沦为残废，度顽被逼成为瘾君子，而宇民则被诬陷为这起纠纷的始作俑者，锒铛入狱。两年后，宇民因表现良好而获提前释放，哲重在组织中如日中天，欲望使其更加堕入罪恶的深渊。 　　重见天日的宇民决定原谅哲重的背叛，想利用两年前留给康硕的钱让康硕和度顽脱离组织的纠缠。但命运无法倒带，康硕变得一无所有自暴自弃，度顽深陷在毒品中不能自拔，哲重的残忍似乎没有罢手，而度顽想方设法说服宇民重新加入帮派对哲重进行复仇，现实从来没有停止过对宇民的意志和忍耐力的考验，而他越是想逃离，命运就仿佛越是堵出他的出路，终于宿命一样，所有该发生的还是发生了……

一大企业的社长被杀引起了两人戏剧性的重逢，一是背负着宿命的优秀青年医生瓜生晃彦（藤木直人饰演），另一个饰倍受挫折的警察和仓勇作（柏原 崇饰演）。高中时，勇作被迫离开初恋女友，渡过了苦闷的青春成了一个警察。这次的杀人事件的的嫌疑犯正是勇作学生时代的竞争对手晃彦，更为离奇的是昔日的竞争对手晃彦现在居然成了勇作初恋女友的丈夫。警察和嫌疑犯，从小就认识的两人随着这次重逢，一切秘密都渐渐浮出水面，但是，最后的结果又会是怎么样呢……

一大企业的社长被杀引起了两人戏剧性的重逢，一是背负着宿命的优秀青年医生瓜生晃彦（藤木直人饰演），另一个饰倍受挫折的警察和仓勇作（柏原 崇饰演）。高中时，勇作被迫离开初恋女友，渡过了苦闷的青春成了一个警察。这次的杀人事件的的嫌疑犯正是勇作学生时代的竞争对手晃彦，更为离奇的是昔日的竞争对手晃彦现在居然成了勇作初恋女友的丈夫。警察和嫌疑犯，从小就认识的两人随着这次重逢，一切秘密都渐渐浮出水面，但是，最后的结果又会是怎么样呢……

在八十年代末的一个山村里，老人们普遍重男轻女，村里面一共几十口人，阮玉是这个村 里的村花，母亲死得早，哥哥大金是个残疾，大金没娶上媳妇给家里传宗接代，这让他的爸爸老柱十分头 疼，老柱早就知道将来要面临换亲的事实，换亲是那个时候普遍的现象，等阮玉长大了老柱就准备落实这 件事，可阮玉却一无所知。 本故事为真实事件，反映当时封建传统给人带来的心理伤害，一时间挥之不去。

阿明是一名年轻编剧，他在地中海度假，在度假期间他与一名叫做贾斯敏的女孩相爱了。在这期间，他又遇到一个制片人声称可以投资他的第一部电影。这时…

The Power of Emotion explains that emotion isn't to be confused with sentimentality. Emotion is ancient and more powerful than any art form. The film looks at young couples who run into difficulties as they try to translate their experiences of love into clear decision-making. A woman who has shot her husband provides a judge with a puzzle. Those who love can bring the dead back to life by means of co-operation. That's the focus of the opera, "The Power Plant of Emotions" and the "Opera of the 20th Century" cinema. 　　Alexander Kluge: The Power of Feeling 　　When I started working on The Power of Feeling, I was not in a rational state. I did not say, I have a subject and now I will make a film about it. Instead I was spellbound and observed in my direct surroundings, for example, how feelings move. I have not really dealt with the theme of my mother's death and the fact that she was the one who taught me "how feelings move." Nor have I dealt with how she died. That was an entire palette of feelings: "All feelings believe in a happy end," and everyone believes tacitly that they will live forever: The entire palette is somehow optimistic, a positive attitude towards life having been put on the agendaas long as she was young, as long as her body held out, from one day to the next she collapsed. She just suddenly collapsed, like in an opera where disaster takes the stage in the fifth act. It felt as if I had observed an air raid or a disaster. 　　The film The Power of Feeling is not about feelings, but rather their organization: how they can be organized by chance, through outside factors, murder, destiny; how they are organized, how they encounter the fortune they are seeking.What is all this organization of feelings about? Generally feelings tend to be a dictatorship. It is a dictatorship of the moment. The strong feeling I am having right now suppresses the others. For thoughts this would not be the case. One thought attracts others like a magnet. People therefore need affirmation by other people to be sure about their own feelings (to counteract the acquisition of their feelings through outside forces). Through the interaction of many people, for example, in public, the various feelings also have a magnetic attraction to one another just like thoughts do. Feelings communicate through their manifestation in public. 　　The cinema is the public seat of feelings in the 20th century. The organization is set up thusly: Even sad feelings have a happy outcome in the cinema. It is about finding comfort: In the 19th century the opera house was the home to feelings. An overwhelming majority of operas had a tragic end. You observed a victim. 　　I am convinced that there is a more adventuresome combination: Feelings in both the opera and traditional cinema are powerless in the face of destiny's might. In the 20th century feelings barricaded themselves behind this comfort, in the 19th century they entrenched themselves in the validity of the lethal seriousness.