阿旦（张家辉 饰）和阿劲（彭敬慈 饰）是情同手足的好兄弟，两人结伴闯荡社会，一起经历过了诸多的风风雨雨。阿旦胆小又贪财，常常惹得一屁股麻烦要阿劲出场帮他善后。一场意外中，阿旦惹恼了黑社会大佬雷气（黄秋生 饰），之后又偷走了黑道大哥豺狼昆（李耀明 饰）的二十万公款。两面夹击之下，阿旦和阿劲只得踏上了逃亡的旅途。 　　两个落魄的小混混来到了风景秀丽的泰国普吉岛，在那里，他们邂逅了两位清纯可人的可爱少女，双双坠入了爱河。让衰仔们没有想到的是，这两个少女一个是雷气的女友，另一个竟然是杀手。而追随着两人的脚步，雷气亦来到了岛上。

《天堂有路》的內容是講述一群互相有緊密關係，各有恩怨的五十年代人物，因時空上的意外而分開--其中一班人因某種原因停留在五十年代時空，另一班人則有隨時間前進，到了八十年代。在一次特殊情形之下，這批八十年代人物再次回到五十年代，與昔日的友敵重逢，一時恩怨愛恨不知從何說起，而風波事件亦因而產生。

《天堂有路》的內容是講述一群互相有緊密關係，各有恩怨的五十年代人物，因時空上的意外而分開--其中一班人因某種原因停留在五十年代時空，另一班人則有隨時間前進，到了八十年代。在一次特殊情形之下，這批八十年代人物再次回到五十年代，與昔日的友敵重逢，一時恩怨愛恨不知從何說起，而風波事件亦因而產生。

路星河在大学创办的摇滚社团，因成员矛盾不欢而散；眼看答应心爱女生的演出临近，面对一次次招揽新成员的各种拒绝失败，崩溃边缘的路星河依然梦想着她看完演出并答应交往的画面…… 　　一筹莫展的路星河在碰到4位学校怪咖时，想到一个绝妙创意，一场假唱摇滚演出！4位怪咖的加入，新乐队的成立，或许是一场盛宴也可能是一场灾难…… 　　随着社团演出的紧张倒数20天，5个人开始了从心灵到肉体，从不会乐器到摇滚达人，从白天到黑夜的碰撞与融合，一连串儿的突发事件应接不暇…… 　　路星河带领成员们为梦想努力，为青春热血！他们最后能顺利演出吗？路星河能等到心爱女孩儿的答案吗？这些真的还有那么重要吗？

路星河在大学创办的摇滚社团，因成员矛盾不欢而散；眼看答应心爱女生的演出临近，面对一次次招揽新成员的各种拒绝失败，崩溃边缘的路星河依然梦想着她看…

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.