伊尔盼兼职攒下来的钱被爸爸瓜分，使得他买不到心爱的手风琴。伊尔盼跟朋友穆萨鬼混，挨了卡米力一伙人的打，只好跟着妈妈回家。最终阿伊莎帮他，伊尔盼得到了手风琴，并且在此过程中俩人的关系变得亲近。

老人（马迎春 饰）从小就热爱音乐，女儿蒙蒙（马雅舒 饰）长大后，父亲花光了家里的所有积蓄，为她买了一台手风琴。一晃眼多年过去，蒙蒙在北京找到了工作，买了车，买了房，优渥的生活之中，她逐渐淡忘了在老家，还有她的老父亲在默默的等待着她，想念着她。 老人将女儿曾经用过的手风琴视若珍宝，但手风琴的年代实在是太久远了，已经严重损坏再也无法演奏。于是，老人带着琴来到了北京，一方面是为了修琴，另一方面是来探望女儿。老人被告知，手风琴已经再无修好的可能了，与此同时，老人在琴行里亦看中了另一款手风琴。面对这昂贵的价格，蒙蒙犹豫了。

《手风琴》是女导演作品中最抽象的一部电影，运用第一人称叙述法，描写一段透过网路视讯发生的「网爱」。主角们的肉体受情慾所控制，最后和电脑零件一起熔化。

影片讲述的是某农村一个愉快、豪放的小伙子奇莫沙·杜金酷爱拉手风琴。他经常拉着欢快的曲调在街头漫步，欢快的曲调给整个村子带来欢乐的气氛。后来，奇莫沙·杜金当选为村共青团支书和村苏维埃委员，从此他便自高自大起来。他再也不在村中街头漫步，更不用说去拉手风琴了。欢快的曲调和歌声从此在村中消失。这时富农的儿子托斯克里维乘虚而人。他拉起了手风琴，但他拉的曲调是反苏维埃的歌曲。他企图散布与苏维埃政权敌对的情绪。经过一系列事件后，团支书奇莫沙·杜金终于明白了自己的错误。

Follows a boy who experiences memory loss and growing pains, meets a transfer student, and faces cracks in his daily life that lead to a strange incident.

智妍为了给宝宝哺乳，戒掉了吃辣的习惯，也不再吸烟，连女演员的工作都没办法回去做。朋友们都羡慕她拥有美满的家庭，却不知道她被育儿的疲惫深深困扰着。直到有一天，她获得了一个演员试镜的机会。在好不容易找到人帮忙照顾小孩之后，她满怀期待地准备去参加面试……

无声短片《拉手风琴者》（英语：Accordion Player），拍摄者为路易斯·普林斯（Louis Le Prince），现存第41~59帧，内容是他的儿子阿道夫·雷·普林斯（Adolphe Le Prince）在演奏全音阶手风琴，拍摄地为阿道夫的外公约瑟夫·惠特利（Joseph Whitley）家房前的台阶上，时间可能为1888年。这条短片尚未经专业修复。

”Kira Muratova, the grande dame of Eastern European cinema returns with her richest, most imposing vision of societal decay and personal efflorescence since The Aesthenic Syndrome encapsulated a very different moment in the former Soviet Union's history in 1989. Set largely in the vast central railway station of Kiev, a casino, a shopping arcade and the snow-blanketed streets between, Melody is a majestically realised pageant of the burgeoning new economy of inequality. Like Dickensian orphans or children in a fairytale, a motherless brother and sister arrive in the city and traipse through festive Christmas streets looking for their respective fathers… The heedless adults who rush around them are endowed with varying blends of self-preoccupation, larceny, skepticism, boredom, gluttony, panic, but even at their most appalling these caricatures of urban insanity are disturbingly, sometimes even hilariously familiar. Muratova's vision of 21st-century decadence is thrilling in its ripe theatricality and self-conscious dramatic heft, yet its thunderous damnation could awaken the most jaded soul. This deeply unfashionable film is some kind of masterpiece.” – BG at tvnz.co.nz/new-zealand-international-film-festival/