当安娜——一位雄心勃勃的美国年轻女子，为了实现儿时的梦想踏上牛津大学的求学之路时，她的人生一切都在按计划进行，直到她遇到了一位迷人又聪明的当地人，这次相遇深刻地改变了他们两人的人生轨迹。

The plot revolves around Ella Durran, an ambitious young woman whose lifelong dream of studying at Oxford finally comes true with a Rhodes Scholarship. However, her plans take an unexpected turn when she is offered a position in a rising political star’s presidential campaign, challenging the initial expectations of her Oxford experience. Matters become more complicated when she meets Jamie Davenport, a local with a sharp tongue and an undeniable connection to Ella. 　　As the narrative progresses, what starts as a casual fling between Ella and Jamie evolves into something deeper, which leads to the revelation of the latter’s life-changing secret. Ella is now torn between her political aspirations and her growing feelings for Jamie, forcing her to confront difficult choices about her future. As her time in Oxford leads to its conclusion, Ella must decide which dreams truly matter most to her.

《我的燃情岁月》讲述了那个逝去的年代，一批绚丽夺目的青春女兵参加野战医疗卫生队，用激情人生和残酷青春抒写生存和死亡的故事…… 　　故事通过一个19岁像花一样绚烂的女孩方捷新兵入伍展开，在那颠荡起伏的嘎斯车上以一首热情洋溢的革命歌曲作为引申，穿越时间的厚茧，还原到了那个充满理想充满热情的年代…… 　　通过一个个小人物的生和死那浓缩的片段，讲述了生和死的意义，展现生命的尊严、灵魂的重量、活着的美丽和人性的光芒，力图从死亡中拯救出一些东西；他们有的是优秀的医生，有的是美丽的女兵，有的是天真的孩子……也许，另有比生命着本身更值得他们坚守的，比如理想，比如爱情，比如责任，比如希望…… 　　本剧在故事的背后阐述了生是偶然的，死是必然的这一自然现象，而更多的是探讨活着的人应该多去珍惜美好的生活，当死的时候，希望是一种解脱，只希望不后悔，爱过，追求过，付出过，得到过，失去过，未尝不是一种领悟…… 　　在记忆里，很多消失的人和事，本来已‘入土为安’，却被记忆顽强地保留着，然后在某一时刻重生，或者说复活。 　　生，是一种态度。死，是一种姿态。生与死，构成了人生的始末…… 　　它是电视剧版《阳光灿烂的日子》 　　经过两年的筹备，剧本创作四易其人，虽然没有商业悬疑和情爱，无法讨巧观众，但投拍方称，“就是为了打造出一部电视版的《阳光灿烂的日子》，要让这个剧“每个毛孔都带着那个时代的质感”。 　　《我的燃情岁月》展现的是一代人的青春，虽然有着特定时代的淡淡痕迹，更多的却是所有走过青春的人都能体会到的灼热温度。导演姜凯阳说，在他的记忆里，那个年代的天很蓝，水很清，树很绿，人的眼睛很亮……对那个逝去年代的深深的怀恋是他喜欢这个剧的原因。两个月的拍摄，大家都在努力在时间隧道中逆行，寻找着那个年代的感觉。 　　它是女兵版《士兵突击》 　　《我的燃情岁月》是以女主角方捷(《我的青春谁作主》中李霹雳的扮演者林园饰演)回忆的方式，讲述的一部女兵成长史，该角色和《士兵突击》中的许三多一样，都是一个贯穿全剧的人物，“女版许三多”的称谓由此而来。“如果从励志的角度说，倒也可以这么评价。”柳叶刀说，方捷和许三多的性格都很执着，“有时，过度执着会容易让人受不了，许三多是这样，方捷也是。”

30年代，战火纷飞，一个村落的青壮年都去当兵，留下了一帮孩子和老人，这帮孩子托付给了金蕾，她照顾孩子的一切，没有想到一天战争在学校爆发了....

本片讲述了1920年至1925年，青年邓小平赴法国勤工俭学期间发生的一系列曲折跌宕的精彩故事。表现了邓小平从艰辛坎坷中思考世界，逐渐成长为职业革命家的历程。同时还描写了邓小平和周恩来的相识与相知，展示他们在为共同的理想并肩战斗中结下的深情厚谊。

我也有过青少年时代，记忆里有艰辛，也有甜蜜。然而当我生活在当前这样一个虽有许多困难需要克服、虽有不少问题需要解决却又是阳光明媚、幸福快乐的伟大…

12岁的“天才少年”赵以水、35岁的“老班长”曹正昌、21岁的“奶油小生”尤优和18岁的“校园白月光”文鹊喜，他们是恢复高考后的第一批大学生。跨越年龄阅历的鸿沟、情窦初开的青涩之恋、流行文化对思想冲击、时代号召下的澎湃激情，一群原本毫不相关的年轻人在大时代的剧烈变革下意外地相聚在了一起，他们将热血青春永恒地镌刻进了我们的时代，而我们的时代又在一遍遍地传颂着他们青春的故事。那是独属于青春的黄金年代，我们怀念岁月，因为我们本以为那是梦的开始……

12岁的“天才少年”赵以水、35岁的“老班长”曹正昌、21岁的“奶油小生”尤优和18岁的“校园白月光”文鹊喜，他们是恢复高考后的第一批大学生。跨越年龄阅历的鸿沟、情窦初开的青涩之恋、流行文化对思想冲击、时代号召下的澎湃激情，一群原本毫不相关的年轻人在大时代的剧烈变革下意外地相聚在了一起，他们将热血青春永恒地镌刻进了我们的时代，而我们的时代又在一遍遍地传颂着他们青春的故事。那是独属于青春的黄金年代，我们怀念岁月，因为我们本以为那是梦的开始……

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.

胡琳初恋男友杜峰在他们热恋时不辞而别，选择了出国，两人各自结婚，之后杜峰回来找胡琳，并错手杀了胡琳的丈夫，胡琳为了杜峰的前途自己认了罪。现在杜峰又继续纠缠，并不择手段，阻止胡琳和现男友秦越在一起，杜峰妻子了解情况后，公然让胡琳在公司出丑，甚至陷害秦越。