杰基·罗恩居住在位于特拉维夫郊区院子里的一所集装箱房屋里。近四十年来，户主玛格丽特在这里收留了众多无家可归的男孩，给予了他们温暖和爱。虽然杰基已经长成少年，但从未离开过。直到某天他发现收容所面临关停的风险，于是他决定以各种方式为此一战，甚至被迫做出极端行为，以拯救这座街头生活的最后庇护所。 　　In the heart of Tel-Aviv's Neve Tzedek neighborhood stands an old house that operates as a shelter for youth from broken homes. Jackie, a young man who finds himself running the shelter after the sudden death of its legendary founder, discovers that the old house actually belongs to the municipality of Tel-Aviv, and has been bought by a businessman who's planning to demolish the house and build a boutique hotel on its ruins. Together with the house's at-risk youth, and with the help of a social worker who comes on board, Jackie launches a relentless struggle against the municipality's representatives, to save the house, which, for the youth it shelters-- is their last refuge, their last lifeline.

Rainer Werner Fassbinder was probably Germany’s most significant post-war director. His swift and dramatic demise at the early age of 37 in 1982 left behind a vacuum in European filmmaking that has yet to be filled, as well as a body of unique, multi-layered and multifarious work of astonishing consistency and rigour. From 1969 onwards, Danish director and film historian Christian Braad Thomsen maintained a close yet respectfully distanced friendship with Fassbinder. Fassbinder – Lieben ohne zu fordern is based on his personal memories as well as a series of conversations and interviews he held with Fassbinder and his mother Lilo in the 1970s. The film also contains current interviews with Irm Hermann and Harry Baer, both of whom were close to Fassbinder. Beginning with Fassbinder’s extraordinary childhood in traumatised post-war Germany, the film, which is divided into seven chapters, provides an illuminating, intimate and moving tribute that bears witness to the enduring relevance of both the man and his work. Today in particular his oeuvre continues to provoke us to engage with controversy and tension – be it aesthetical, creative or critical. berlianle 2015

Rainer Werner Fassbinder was probably Germany’s most significant post-war director. His swift and dramatic demise at the early age of 37 in 1982 left behind a vacuum in European filmmaking that has yet to be filled, as well as a body of unique, multi-layered and multifarious work of astonishing consistency and rigour. From 1969 onwards, Danish director and film historian Christian Braad Thomsen maintained a close yet respectfully distanced friendship with Fassbinder. Fassbinder – Lieben ohne zu fordern is based on his personal memories as well as a series of conversations and interviews he held with Fassbinder and his mother Lilo in the 1970s. The film also contains current interviews with Irm Hermann and Harry Baer, both of whom were close to Fassbinder. Beginning with Fassbinder’s extraordinary childhood in traumatised post-war Germany, the film, which is divided into seven chapters, provides an illuminating, intimate and moving tribute that bears witness to the enduring relevance of both the man and his work. Today in particular his oeuvre continues to provoke us to engage with controversy and tension – be it aesthetical, creative or critical. berlianle 2015

优秀的桑切斯公爵家中有两位姊妹。 　　姐姐芙萝拉是才色兼备的圣女候补。 　　妹妹卡洛琳娜是个既平凡又毫无才能的淘汰品…… 　　这样的卡洛琳娜为了调整与邻国的关系，被安排了与第二皇子的婚事。 　　然而，传闻中的皇子是一位既野蛮又残酷无比的人物。 　　「如果我能派上用场的话」如此想着于是接受了政治联姻的卡洛琳娜，在出嫁后彻底改变了人生。 　　收到与传闻相反的绅士皇子、皇帝及皇后的正面评价，她终于能得到认可！？

土地是农村最重要的经济来源，伴随着土地的纠纷也从未停止。本片主人公所在的村庄地租上涨，激化了原本就存在的土地矛盾，村与村、民与民之间的土地争议日益尖锐，于是上演了一幕幕关于土地维权的生动场景。

土地是农村最重要的经济来源，伴随着土地的纠纷也从未停止。本片主人公所在的村庄地租上涨，激化了原本就存在的土地矛盾，村与村、民与民之间的土地争议日益尖锐，于是上演了一幕幕关于土地维权的生动场景。

朝露大婚当日被大魔头凛芳尊灭满门，为救回所有人朝露穿越回三百年前想提前杀掉大魔头改变悲剧发生。刚入异世不小心闯入禁地救下被囚禁的少尊暮霆，为报恩暮霆帮朝露一起寻找凛芳尊，后来才发现凛芳尊就是暮霆……

顾尘幼年遭遇袭击，父母为护他而死，自此性格孤僻。成年后，他离开家族成为救灾队员，与傅氏总裁傅雅宁结婚。傅雅宁信佛，生活禁欲，婚姻冷淡。一次救援中，顾尘发现她与收养的孩子冬冬关系亲密，且与生父林于皓举止暧昧。面对质问，傅雅宁态度冷漠，顾尘心碎妥协，但日渐绝望，最终留下离婚信离开。傅雅宁悔悟追悔，却得知顾尘决定回归顾家。顾家二叔欲除之而后快，设局杀他。危急时刻，傅雅宁挺身挡刀。弥留之际，她坦白深爱顾尘，后悔过往伤害。顾尘痛苦相拥，原谅了她。故事以生死离别诠释真爱，传递了珍惜与宽恕的价值观，以及逆境中坚守本心的精神。