一个布鲁克林失败的作家弥敦道·费舍尔到佛罗里达州看望父母，却发现母亲有阿尔茨海默病，而他的父亲最近中风了。根据导演同名剧本改编，父母间的深爱令人感动。

父母双亡，25岁的萩原健太郎（织田裕二 饰）在一家小工厂内辛苦做工，独立抚养两个弟弟祐介（富田樹央 饰）和小浩（森廉 饰）。虽然日子贫苦，但兄弟三人却快乐非常。然而祸不单行，健太郎工作的小工厂倒闭，地下钱庄也苦苦相逼。在青梅竹马神田美智子（财前直见 饰）的帮助下，健太郎总算在某国际保险公司找到一分保安的工作。 　　保险公司职员大泽一郎（东干久 饰）粗心大意，不小心弄丢了一份重要文件，最终被健太郎拾到。借此机会，聪明干练并且善于把握机会的健太郎终于迈出人生最为重要的一步，但在不断攀登的过程中，他也渐渐失去原本纯真爽朗的真性情……

父母双亡，25岁的萩原健太郎（织田裕二 饰）在一家小工厂内辛苦做工，独立抚养两个弟弟祐介（富田樹央 饰）和小浩（森廉 饰）。虽然日子贫苦，但兄弟三人却快乐非常。然而祸不单行，健太郎工作的小工厂倒闭，地下钱庄也苦苦相逼。在青梅竹马神田美智子（财前直见 饰）的帮助下，健太郎总算在某国际保险公司找到一分保安的工作。 　　保险公司职员大泽一郎（东干久 饰）粗心大意，不小心弄丢了一份重要文件，最终被健太郎拾到。借此机会，聪明干练并且善于把握机会的健太郎终于迈出人生最为重要的一步，但在不断攀登的过程中，他也渐渐失去原本纯真爽朗的真性情……

讲述下岗剧团演员田雷为讨债南下，和发广告的兄弟一起赚下第一桶金，却被卷入一场医疗骗局，最终配合警方破获这场骗局的故事。

讲述下岗剧团演员田雷为讨债南下，和发广告的兄弟一起赚下第一桶金，却被卷入一场医疗骗局，最终配合警方破获这场骗局的故事。

黄尚得新叔协助到香港工作。到香港后他遇三个难忘的女人，一个是温柔贤淑的新叔的女儿亚萍，一个是风骚放荡的同屋住客露露，一个是冷艳高傲的高级上司珍妮，亚萍是跛脚的。有一天他在海边无意中获得一本《发达秘笈》，它是一本厚黑学教本，教人要发达必须不择手段心狠手辣。依它的教导，他果然获得意外之财……

马来西亚拿督李富国（赵雷）的独生女李雅美（恬妮），离家出走到香港体验社会。拿督追到香港找人，并悬赏港币100万元寻女，巨额赏金引来各方垂涎，尤其是想一夕致富的人。   雅美为了在工厂工作，冒充成算命仙陈钢口（屠光启）的女儿陈月兰，因上司怀疑自己的真正身份，雅美只好拜托在工厂里任职总经理的表姐?许珍妮（夏雯）帮忙。珍妮跑去找督商量，只要拿督答应不干涉雅美，她愿意告诉他雅美的近况。   雅美因缘际会和新报记者严婷玉（甄珍）成为好朋友，婷玉也讲义气地替雅美隐瞒真实身分。婷玉的同事陈志强（谢贤）、冯实中（陈浩）怀疑陈月兰就是失踪的李雅美，两人暗中调查、收集证据，设法拆穿雅美身份，但都屡次失败。   雅美决定返家，婷玉到机场送她，没想到却被志强和实中跟踪。婷玉质问他们是否因100万而追查此事，志强表明他们只是为了尽到记者本份罢了，知道他们没有恶意，婷玉才将事情真相告诉他们，三人还一块到机场送雅美。拿督遵守诺言，宣布颁发100万元给第一个找到雅美的人，但却无人领取，最后珍妮便替拿督宣布，此笔奖金将以大家的名义捐给香港公益金，使大家皆成为发达之人。

The first film of the 21st century to win a place in the Library of Congress – having been deemed by the National Film Registry to be a flagship example of American film heritage – is also a spectral archive boasting a singular aesthetic. An archaeologist of cinema offers up a symphonic work here, a rhythmic composition made up of film strips in early or advanced states of degradation, where signs of decay on the celluloid become elements of a narrative that encompasses the entire history of the cinematic experience and substitutes the precision of film historiography with the ecstasy of the ephemeral. It is a cyclical work – like the dance of the dervishes in the shots that open and close the film, like a reel spinning steadily inside a movie projector, like the human experience of time itself. And as the first bona fide contemporary masterwork of the new millennium, built upon the resplendent forgotten ruins of the past, it convinced even Kenneth Anger to call it the most compelling and disturbing thing he had ever seen, and forced the documentary filmmaker Errol Morris to concede it was the greatest film in history. 　　源自：https://www.filmfestival.gr/en/section-tiff/movie/1308/15230

The first film of the 21st century to win a place in the Library of Congress – having been deemed by the National Film Registry to be a flagship example of American film heritage – is also a spectral archive boasting a singular aesthetic. An archaeologist of cinema offers up a symphonic work here, a rhythmic composition made up of film strips in early or advanced states of degradation, where signs of decay on the celluloid become elements of a narrative that encompasses the entire history of the cinematic experience and substitutes the precision of film historiography with the ecstasy of the ephemeral. It is a cyclical work – like the dance of the dervishes in the shots that open and close the film, like a reel spinning steadily inside a movie projector, like the human experience of time itself. And as the first bona fide contemporary masterwork of the new millennium, built upon the resplendent forgotten ruins of the past, it convinced even Kenneth Anger to call it the most compelling and disturbing thing he had ever seen, and forced the documentary filmmaker Errol Morris to concede it was the greatest film in history. 　　源自：https://www.filmfestival.gr/en/section-tiff/movie/1308/15230