文涛向秦峰道歉，称无法履约并愿还钱。秦峰不在意，让艾利接替顾悦，还送别墅怂恿二人。艾利突然持刀刺文涛，被其挣脱。秦峰现身，坦言自己需换肾，文涛肾源匹配，此前皆为夺肾设计，顾悦是被栽赃。警察与顾悦赶到，顾悦拿出文涛的录音笔揭穿阴谋，秦峰、艾利被捕。顾悦告知文涛，秦峰是养父养子，恩将仇报夺家产，害她父亲。文涛庆幸信她，顾悦（本名曼歌）提议在一起，文涛答应。两人牵手时顾悦恶心似怀孕，文涛接电话得知母亲康复，见面后母亲猜顾悦怀孕，三人欢喜。文涛承诺对顾悦好，两人相拥，期待新生活。

宁萱从警局询问闺蜜顾丽莎弟弟顾宁霖的走失案进展，无果后提及新同事李轩给她熟悉感，疑似顾宁霖。顾丽莎让她多接触了解，宁萱便邀李轩喝咖啡，趁机收起他的咖啡杯做DNA鉴定，还和顾丽莎比对照片、回忆细节。最终鉴定结果证实李轩就是顾宁霖，顾丽莎激动邀请他来家，见面后姐弟俩相认，多年离散就此圆满落幕。

The story of Manivelle, an automaton whose rise and fall mirrors that of Lebanon. Once the wonder of his age, Manivelle is now rusty and mostly forgotten.

The story of Manivelle, an automaton whose rise and fall mirrors that of Lebanon. Once the wonder of his age, Manivelle is now rusty and mostly forgotten.

新垣结衣在上海拍摄的心情短剧。新垣结衣一人分饰两角，讲说她独自到上海旅行，偶遇与自己长相一模一样的女生

The fear of being overwhelmed by the outside world can almost litterally make you lose your head...

A diary film about a relationship between a man (Alain Cavalier) and a woman, told entirely through voice-overs by the two participants, spoken over largely static images (of household objects, animals, parts of the body, rooms, landscapes etc.). At times an emotional direction emerges (an articulation of love, loss, frustration), then it retreats. At times the film seems to be about its own making; at others it seems merely to drift. 　　Imdb Review: Alain Cavalier's latest film is deceptively simple and yet revolutionary because it seems to stand outside the boundaries of narrative and documentary filmmaking. One could describe "La Rencontre" as a cinematic diary--a home movie that documents the filmmaker and his muse during the course of their relationship. But unlike most movies the human subjects here are never photographed in whole, just partially. This brave new work is as much about Cavalier's object of desire, that is, his lover as it is about the medium that gives expression to his love. It is conceived as one part confessional and one part discourse on the metaphysics of love and cinema. The cinema, for Cavalier, is like a two-way mirror that records images while reflecting those images back onto itself. Subject and object appear to mirror each other's identity until they assume new personae in the process. 　　The immediate challenge for Cavalier, then, is cinema's objective gaze: the ability of the camera to record the physical nature of reality. But Cavalier's chief interest is just the opposite. He wants to demonstrate the possibility of a new cinema: one that evolves out of concealment and subterfuge. This cinema deemphasizes the human landscape and dislocates the image from its voice. It focuses inward rather than outward, and chooses to explore the intangible and the abstract over the tactile and the concrete. 　　Appropriately, Cavalier's cine-diary unfolds like an open book: his twin loves (muse and cinema) are illuminated through a series of tableaux filled with close-up objects which are brought vividly to life by the imagination and the transfigurative power of the cinema. It is as if these everyday objects have become the lovers' collective memories saturated with the emotions and energy of life. In short these objects have assumed a life of their own becoming humanized and perhaps immortalized in the process. After all isn't this precisely the paradox of cinema--the ability to resurrect inanimate objects, to bring them back to life at 24 frames per second?

1999年，山西汾阳县城，开朗雀跃的女孩沈涛（赵涛 饰）徘徊在矿工梁子（梁景东 饰）和煤矿老板张晋生（张译 饰）两端。一女二男的三角恋，无法维持长久的平衡。梁子和晋生的友情破裂。涛儿结婚的时节，有人选择远方。

《山河故人》构思三四年时间，与贾樟柯导演的另一部影片《在清朝》同时推进。《山河》的故事发生在1999年的一个秋天，地点选在山西煤矿地区，赵涛饰演的…

余笙是天地间最后一只灵狐。在她还是只狐狸的时候贪玩来到人间，被幼年的陆泽所救，修炼成人来人间报恩，救活了命悬一线的陆泽，两人一见钟情，陆泽不顾众人的反对娶了余笙为后。天下人都知皇上宠爱皇后，甚至为其闲置了后宫，余笙也这样以为，直到陆泽凯旋而归，带回了乐汐，才知道陆泽一直把自己当成白月光的替身。