本片以清朝末年为时代背景，讲述了以苏州男孩小龙、又又等为代表的普通老百姓为护卫传国玉玺与外国传教士、贪官和水寇斗智斗勇并最终获得胜利的故事，展示了中华文化的神奇与珍贵，正义必定战胜邪恶的道理。

明朝初年。登基称帝已经十年的开国皇帝朱元璋，从左丞相何世杰口中得知，曾在打江山之时救过自己一命的陈州知县周康平贪贿无度。朱元璋于一怒之下，传旨将周康平处斩。周康平其人素有贤名，众臣皆不相信何世杰之言，力谏朱元璋收回成命。朱元璋拒不从谏，斩决周康平之日即至。就在此时，皇帝玉玺突然从后宫不翼而飞。右丞相李长善得知偷窥玉玺之人，是曾与朱元璋和皇后共过患难的侍女苏小婉。并断定一定是为了假传圣旨，赶赴陈州营救周康平。李长善奉旨出行来到陈州寻回玉玺，得知苏小婉已将周康平劫走，又从陈州百姓口中得知，周知县是位深得民心的好官。李长善回京复命，朱元璋不信其言。但在马皇后的劝说下决定微服重返陈州。奸臣何世杰趁朱元璋不在朝中之机，对朝臣恩威并施，将朝权尽揽。一面令曹昆将朱元璋等人拖在陈州，一面暗中勾结收买倭寇，企图借倭寇之力，达到窃国目的。朱元璋和李长善等人在陈州，耳闻目睹百姓真实情况，并与曹昆等人周旋。最后何世杰孤注一掷，私刻一方玉玺，并在众臣面前皇袍加身。马皇后早已谋划在先，将何世杰生擒。虽被自己豢养的武士李强劫出牢狱，仍难逃一死。一场风波过去，朱元璋幡然醒悟，陈州一行，使自己悟出一个道理，治理天下，要靠民心，民心凝聚，强过玉玺，强过金银。

本片以清朝末年为时代背景，讲述了以苏州男孩小龙、又又等为代表的普通老百姓为护卫传国玉玺与外国传教士、贪官和水寇斗智斗勇并最终获得胜利的故事，展示了中华文化的神奇与珍贵，正义必定战胜邪恶的道理。

明朝未年，崇祯帝下诏书与太子，命太监王承恩侄子王之明（寻峰 饰）护驾太子（何威 饰）赴南京，希冀旧臣遗老将来保太子登基。一路上前有堵截，后有追兵，王之明无奈假冒太子被抓，换得太子逃生。清皇太后（王惠 饰）放出假太子引蛇出洞，结果真假太子双双被清兵擒获。清皇太后见大明朝气数已尽，伺机挑动其宫廷群臣分争，以期内部土崩瓦解。王之明在疤面人（孙根发 饰）协助下冒险救出太子，此时崇祯已自缢身亡，马士英（顾也鲁 饰）等官宦趁机私立皇帝建立南明朝，并派人接驾，实为暗杀太子。马士英采用嫁祸于人毒计，诬太子谋反，将其下狱。疤面人找到已北返的王之明，劝其带兵东征......

剧情发生在朱棣“靖难”成功之后，野心勃勃二弟朱高煦率兵进京，欲要模仿李世民玄武门夺嫡。可是朱棣死后，太子朱高炽悄悄地即位，朱高煦失去了先机，可是还没过多久，朱高炽也死了，朱高煦再次预谋夺位，与弟弟朱高燧、堂侄朱瞻基、朱瞻堂约定，谁先抢到大明玉玺，谁就即位，于是一场阴谋争斗就此展开。

出生在一个被黑手党控制的小城里，一名愤怒的年轻女子决意向拆散和囚禁她家人的邪恶力量复仇。

钟灿（金柱赫 饰）和妻子妍红（孙艺珍 饰）结婚多年，膝下有一可爱的女儿，两人男才女貌，在外人眼中是如同神仙眷侣一般的存在。钟灿涉足政坛，事业小有成就，同僚们都知道，他将有极大的可能成为下一任的国会议员。 　　某一日，厄运降临到了这个幸福的家庭之中，女儿无故失踪下落不明，留下难以解释的模糊线索，令警方毫无头绪。让妍红感到不可思议的是，对于女儿的失踪，钟灿似乎并没有那么焦急，他脑中所想的，只有如何在下一场竞选中取得胜利，夫妻两人之间的感情因此而产生裂痕。无奈之下，妍红只得强打起精神，她知道，女儿所能依靠的只有自己。

一名受人尊敬的主播（高庚杓 饰）突然在播报时失去自我约束力，此举吸引了一名电视台编剧（姜汉娜 饰）的注意，并邀请他上自己的综艺节目。

The subtitle of Jean-Marie Straub and Danièle Huillet’s first feature, from 1965, “Only Violence Helps Where Violence Reigns,” suggests the fierce political program evoked by their rigorous aesthetic. The pretext of the film, set in Cologne, is Heinrich Böll’s novel “Billiards at Half Past Nine,” which they strip down to a handful of stark events and film with a confrontational angularity akin to Bartók’s music that adorns the soundtrack. The subtlest of cues accompany the story’s complex flashbacks. The middle-aged Robert Fähmel tells a young hotel bellhop of persecutions under the Third Reich; his elderly father, Heinrich, an architect famed for a local abbey, recalls the militarism of the First World War, when his wife, Johanna, incurred trouble for insulting the Kaiser. A third-generation Fähmel is considering architecture, just as the exiled brother of Robert’s late wife, returns, only to be met by their former torturer, now a West German official taking part in a celebratory parade of war veterans. Straub and Huillet make the layers of history live in the present tense, which they judge severely. The tamped-down acting and the spare, tense visual rhetoric suggest a state of moral crisis as well as the response—as much in style as in substance—that it demands.

The subtitle of Jean-Marie Straub and Danièle Huillet’s first feature, from 1965, “Only Violence Helps Where Violence Reigns,” suggests the fierce political program evoked by their rigorous aesthetic. The pretext of the film, set in Cologne, is Heinrich Böll’s novel “Billiards at Half Past Nine,” which they strip down to a handful of stark events and film with a confrontational angularity akin to Bartók’s music that adorns the soundtrack. The subtlest of cues accompany the story’s complex flashbacks. The middle-aged Robert Fähmel tells a young hotel bellhop of persecutions under the Third Reich; his elderly father, Heinrich, an architect famed for a local abbey, recalls the militarism of the First World War, when his wife, Johanna, incurred trouble for insulting the Kaiser. A third-generation Fähmel is considering architecture, just as the exiled brother of Robert’s late wife, returns, only to be met by their former torturer, now a West German official taking part in a celebratory parade of war veterans. Straub and Huillet make the layers of history live in the present tense, which they judge severely. The tamped-down acting and the spare, tense visual rhetoric suggest a state of moral crisis as well as the response—as much in style as in substance—that it demands.