主角宋玄清穿越异世，成为偏僻宋家村一尊无名野神，没有神位天道不认可，实力低微命如浮萍。依靠香火成神证道系统，借村民香火修炼变强。他收服猫妖玄墨当帮手，斩杀吃人的蛇妖、对抗邪道天山教，应对各路妖邪与江湖势力。一边守护辖地百姓，一边积累香火提升修为，从弱小野神一步步走出属于自己的神道道路。

修车工陆鸣凭借十年精湛手艺，获烈风机车董事长赏识。面对同行嫉妒与谣言，他从容应对，在技能大赛中打破学历偏见，勇夺全国冠军。陆鸣以实力赢得尊重与爱情，成功创业，生动诠释了手艺人凭双手立身的核心价值。

陆铮替老板周耀辉卖命六年，凭一身过硬手艺撑起公司，却在受伤后只换来两千块钱和半扇猪肉抵工资。面对羞辱与压榨，陆铮没有自暴自弃，而是靠多年积蓄和莫叔帮助自立门户，创办“铮骨堂”。在沈星语的陪伴与协助下，他凭精湛手艺接连解决古建修复、奢石拼花、房屋加固等难题，带领更多普通手艺人凭本事堂堂正正赚钱。面对周耀辉与魏天雄的打压陷害，陆铮始终坚守底线，用技术、证据和规则维护自身权益。

野女孩柳小柔被拐至偏远乡村，险些被迫婚嫁。她冒死逃回城中，面对的却是当年亲手弃她的冷血父亲，和一个毫无血缘的养女妹妹。她有勇有谋，凭一己之力夺回属于自己的一切，亦正亦邪，一路向前，只为追寻当初救她一命的那束光。

裘德（约翰·斯科特·马丁 John Scott Martin 饰）在农村长大，一心要用知识改变命运，考取大学成为了他的奋斗目标。但是，年少的欲望却让他与当地一个姑娘发生了关系，大学梦也随之破碎。 不久姑娘远走澳洲，寻觅更美好的生活。剩下裘德和他的梦想，继续在这里萌芽成长。裘德为了能考上大学，专门搬到大学城附近苦苦寻求机会。同时在这里，表妹苏（菲奥娜·沃克 Fiona Walker 饰）让他暗暗倾心。迫于亲缘的关系，二人都不敢打破禁忌。当苏嫁给了他人，裘德终于冲破了心中压抑已久的感情。他们不理世俗，不想后果，只要一起。即使流浪到天涯都无所畏惧。然而，不幸终究来临。他们的孩子为这一切付上了沉重的代价，裘德和苏的感情，亦迎来了寒冷的严冬。

On the border between United States and Mexico, once every 20 years, there are days that locals call timelessness. At this time the gods, to whom the ancient Mayan tribes made sacrifices, descend to earth to take human souls.

Documentary on the French-Algerian conflict 1954-1962 which was never officially called a "war", including interviews with some of the survivors.

国家安全局侦察处处长方健为追查间谍组织非法活动的线索，深入卧底与大毒枭打成一片，其妻郑小敏耐不住长期寂寞生活，在痛失胎儿之后，投入了热烈追求她的记者高飞的怀抱。一项高科技军事技术AS105工程的机密磁盘失窃了。重大嫌疑人为电视台记者高飞和市委书记的女儿叶华。高飞突然死于非命，而叶华则深深爱上了方健。一个神秘的女人——“芳芳”始终在背后操纵着一切，一个更大的阴谋正在酝酿……间谍分子逐一暴露，令人意想不到的是——背后的大间谍竟然是他！

It is shortly after the end of the Second World War and a small group of people – director, screenwriter, actors – are discussing the form and subject of a proposed film project. Two acquaintances of the screenwriter, a country girl and a Berlin art dealer, enter the scene and suggest that the crew make a film based on their lives. Martin, the art dealer, offers his business partner and her maid Christine a place to stay after the house they live in is bombed. From the very beginning, he feels drawn to the simple country girl, and the two become close during a night-time bomb raid. However, their love is doomed by the class prejudice rampant in the circles in which Martin moves, and Christine eventually leaves. After the war, the situation is reversed: Martin returns from the front, with nothing but the clothes on his back and appears at Christine's father's farm in need of a roof over his head. This time, it is the farm girl who turns Martin away out of pride, and it is Martin who leaves the home of his old love. The members of the group disagree on how the film should go on from there. The director wants it to end on a tragic, moralizing note, while the actor wants a happy end. Finally, the writer asks Martin and Christine themselves how the story continued. If you belong to those who dislike the triviality and banality of German film after World War II (like myself) then you should turn to those films who were made in a short period between 1946 and 1949. Many of them show the will not to just simply go on like nothing happened but to search for new forms of entertainment in the light of the war and the guilt of the german people. "Film ohne Titel" (Film Without a Title) is an interesting reflection about the rights to be entertained: Which stories can be told, when all stories seem to have been finished? It shows the attempts of a film crew to shoot a film. They offer several versions of one simple love story in different film form (melodrama or german expressionism) until they come out with the right form (which is this film itself). The film is entertaining and modern as well. Unfortunately questions of film form were not to be touched again until the seventies.