在一个法国小城，当地警察与一个偷猎者发生的一系列冲突。

在现实生活中，主人公精心扮演着“忧郁少女”的人设，冷淡疏离，仿佛与世界格格不入。然而，这份刻意维护的假面，却在她意外坠入一个危机四伏的“恐游世界”时，面临了前所未有的考验。当怪物步步逼近，内心深处的恐惧让她几近崩溃，尖叫欲出。但一道突如其来的系统提示却瞬间冻结了她——她的所有行动，将在接下来的24小时内全程直播！为了不让现实中的完美人设轰然倒塌，她强忍恐惧，用最冷静、最疏离的姿态去面对一切。当其他玩家在瓢泼大雨中惊恐躲藏时，她却撑着一把透明的雨伞，在雨中从容漫步，将“忧郁高冷”演绎到极致。

14岁的加布丽艾喜欢上了男同学吉尔，可不懂事的吉尔却一直闯祸，给别人的生活带来麻烦。他偷加布丽艾的钱，不时羞辱他，甚至还殴打老师。 暴怒的吉尔爸爸把吉尔赶出了家门。加布丽艾不愿收留他，其他同学也都拒绝了他。于是吉尔流浪街头，最终还是加布丽艾向他伸出了援助之手，他们一起出走，躲进乡间，他们开始真正地恋爱了。 但是，为了去更远的地方，他们入室盗窃，结果却杀了人……

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。

Evelyne Morin has known much misfortune in her life. Widowed, after being married to an unscrupulous adventurer, she ends up working as a call-girl in a Montmartre nightclub just so that she can bring up her young son. But Evelyne has hopes of escaping from this degrading life. One evening, she meets Georges, a Canadian friend, whom she once considered marrying. Since she last met him, Georges has become rich and highly respected as a doctor. To conceal her downfall, Evelyne pretends to be a respectable woman, with the help of Paul Mazuraud, an odious man who provides her with the wherewithal for her to keep up this deception. When her son unintentionally gives the game away, Evelyne places him in the care of her Canadian friend and then fades away into the fog...

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。

After the tragic overdose of his estranged friend, Will, a recovering addict, returns home, where he is reunited with Claire, his friend's grieving mother, with whom he begins a secret but volatile affair.