两个来自不同家庭的青年－华仔(刘德华饰演)及Ricky(张国强饰演)，都极热爱赛跑。Ricky在富裕环境中长大，因父亲(刘丹饰演)是个赛跑好手，故此自小已极力被培训成材。 　　而华仔则来自单亲家庭，自小失去母爱，家庭清苦，并与父亲(关海山饰演)相依为命。在一次偶然的机会下，华仔突然发现母亲健在，而且一直远居英国。为了争取机会远赴英国与母亲相见，他发誓要夺得一项赛跑锦标，以参加於英国举行的英联邦运动会。 　　两个年轻的运动员，各怀理想，向著同一目标而展开了一场激烈的搏斗。

有消息称，这部电影也是出品方有意专为汽车影院和音像制品市场专门制作的作品。并且从故事内容上看，一辆“来历不明”的校车，几个“去向不明”的年轻人…

杰贝兹（亚历克·鲍德温 Alec Baldwin 饰）是一名男装推销员，在艰难维生的同时亦没有放弃成为作家的梦想。可是，上帝似乎无意眷顾这个努力的可怜人，他不仅因为种种意外而丢掉了工作，呕心沥血撰写的手稿也遭到了出版商丹尼尔（安东尼·霍普金斯 Anthony Hopkins 饰）的否定，更糟糕的是，他的好友朱利叶斯（丹·艾克罗伊德 Dan Aykroyd 饰）刚刚签下了高达19万美元的出版合同。 　　垂头丧气的杰贝兹失去了一切，只剩一台破旧的打字机，他负气将打字机扔出窗外，却好巧不巧砸中了一个路过的老妇人，他的正常生活眼看着就要走到尽头，就在此时，杰贝兹的眼前出现了一位红发女子（詹妮弗·洛芙·休伊特 Jennifer Love Hewitt 饰），这位撒旦的化身答应帮助杰贝兹实现愿望，但要他拿自己的灵魂做交换。

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.

老人斯拉维萨（Miodrag Krstovic 饰）与女儿女婿住在一起。他的老伴已经去世，而他渐渐患上了阿茨海默综合征，记忆力不断减退。他甚至忘记了自己曾经当教授时写过的教材，而在雨夜中也会迷失回家的路。 　　斯拉维萨只有在老伴的墓碑前才显得头脑清晰，每次都表达着对逝去的伴侣的思念和对当前无奈的感受。女儿和女婿忙于工作和照顾他们自己的家庭，无法完美的顾及到老人的需求。最终，他们不得不做出决定，将老人送进养老院，那里毕竟是专业照顾老人的机构。为了降低老人摔倒的风险，养老院没有设置台阶。虽然在决定和送老人去之间有很多不舍和无奈，但这被认为是最好的选择。