故事发生在风景如画的云山，一名年轻美丽的姑娘卓丽萍（李勇勇 饰）在崖边丢下纸币，紧抱国画后跳下山涧。被送到医院时，她只梦呓般地说了句“何晓雪害了我”便昏迷不醒，最终去世。青年画家钟渊（聂雅亮 饰）在得知卓丽萍的死讯后，冲进医院对着她的尸体自称“是我害了你”，这一幕被记者鲁化平意外录下。何晓雪，外贸局青年干部，市委书记李仲岷的养子，因言辞模糊被拘留。李仲岷因这一打击病倒入院，检察长鲁枫正考虑签署何晓雪的逮捕令。然而，办案人员小吴对仅凭死者梦呓的指控提出质疑。 　　市政法委员会办公室主任叶正秋传达了李书记希望案件处理不受其健康影响的意见。何晓雪的未婚妻徐敏敏，一名法律系学生，在得知钟渊才是真正的凶手后，决定为何晓雪辩护。开庭时，徐敏敏提供了证据和证人，指证钟渊为凶手，引发了广泛讨论。法庭决定将案件延期审理，以进一步调查真相。

阿富汗一直是个新闻热词，最近随着奥巴马的撤军计划和卡尔扎伊胞弟等阿富汗官员遇刺，阿富汗再次成为各大新闻社的高频词。但是关于阿富汗，我们的记忆似乎只限于战争和反恐，这次就让英广最新纪录片《阿富汗》带你深入了解这个神秘国度。。

阿富汗一直是个新闻热词，最近随着奥巴马的撤军计划和卡尔扎伊胞弟等阿富汗官员遇刺，阿富汗再次成为各大新闻社的高频词。但是关于阿富汗，我们的记忆似乎只限于战争和反恐，这次就让英广最新纪录片《阿富汗》带你深入了解这个神秘国度。。

中学教师夏加尔因5岁儿子患自闭症，想调去海洋馆用海豚声纳助其缓解，却被祁校长要求先处理魏来被霸凌事件才准离职。她明知肇事者是校长侄子祁代，却因关系复杂想敷衍，遭受害者父亲魏有才坚持追查。匿名微博举报引教育局关注，校长施压夏加尔查举报人。她约疑是举报者的学生去海洋馆，途中本要乘坐的公交因大妈抢方向盘坠海，乘客集体沉默致惨案，丈夫身亡。夏加尔提前下车幸存，满怀负罪感，以惨案为戒给学生上最后一课，唤醒众人指证祁代。最终她决意留校，儿子生死成谜。

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。