现代少女阿普降临原始母系荒原，此地女子骁勇掌权、狩猎守土，男子柔美擅长内务医理。觉醒生存系统的她，先是带领黑石全族躲避致命兽潮，寻得环山谷地安家；又收服固守男权的赤牙部落，废除旧俗推行男女平等。接连扛过旱灾、蝗灾、山洪、狼群、外族劫掠等重重危机，开荒挖井、建房修渠、搭建完整部族体系。她以德感化对手，驯化荒原狼王，最终在母亲烈戈支持下继任首领，凭智慧与担当守护万千族人，开创安稳兴盛的荒原家园。

七十年代，丫丫降生便来到苦寒北大荒，成为苏家三房的小闺女。三房父母性情刚直，拼尽全力护着自家孩子，不让她受半分欺辱。苏沅禾聪慧机敏，伶牙俐齿应对难缠亲戚，手握绝佳福运，进山寻珍宝，河滩觅机遇，靠自己的本事，悄悄带着一家人摆脱贫苦日子。

“我是我母亲的母亲的女儿”，这听上去有些荒谬的关系却是片中主人公安娜的成长体验。安娜自小被母亲送给外婆寄养，认外婆做“妈妈”，却与自己的亲生母亲关系生疏。一个周末，祖孙三代意外相聚在外婆的乡间小屋，令长久以来相互之间积压的矛盾无处隐形，却也带来疗愈彼此关系的机会。影片以细腻温和的故事叙事，探讨“成为母亲”带给女性的身份困惑与母女间代际传递的情谊。

社畜林蛋大意外穿越到黑石母系部落，被冷冽族长霜瑶当场抓获。面对只会蛮力劳作、固守旧规的族人，他凭借现代知识造出摘果工具、净水陶锅、改良陷阱与居所，解决部落饥荒病痛。他化解部落纷争，打破固化分工，温柔包容所有人，渐渐俘获霜瑶心意，最终留在这片充满烟火气的山林，与众人安稳相守。

卢是一位叛逆的少女妈妈，她和女儿尼娜住在布宜诺斯艾利斯一群修女开办的庇护所。新来的宝拉是一位富有同情心的意大利修女，她对尼娜非常照顾，但没过多久卢失踪了……该片为纪录片女导演莫拉·德尔佩罗拍摄的第一部剧情长片。她曾在布宜诺斯艾利斯的一个意大利宗教中心生活四年，这使她可以经常观察修女和她们照顾的年轻女性之间的互动，也让她有机会拍摄这部探讨女性如何在世俗的爱与宗教规训的夹缝中寻找自我意识的作品。影片入围第72届洛迦诺电影节主竞赛单元。

三十岁出头的丛林（任素汐 饰）如何也想不到，与哥哥丛来（李晨 饰）的又一次戈壁“寻人之旅”，会被一场沙暴推向生命绝境。 哥哥身负重伤，丛林必须独自前行，为两条生命寻找一线生机。

2022年，杭州亚运会施工建设正如火如荼展开。傍晚，一对恋人开摩托车行驶在城郊，剖开城市肌理，寻找记忆中的游乐场。当一阵风吹过的时候，他们回想起一名诗人说过的一句话：世界是一片荒原。

To an American audience, "The Abandoned Field: Free-Fire Zone" is an unusual movie in many ways. First, this Vietnamese film tells a story of the Vietnam War through the eyes of Viet Cong guerillas. Instead of the camera hovering above the ground in the U.S. helicopters, it's in the rice paddies looking up at those lethal machines. Second, it depicts the effects of war on a family (mother, father, and child) whose daily life is made unpredictable and uncertain by the whims of battle. Granted, the father and mother are VC guerillas who voluntarily put themselves – and their child – in harm's way, but this touches upon another uncommon element: Hollywood audiences aren't used to seeing a woman (the wife) as a protagonist in a war drama. These qualities alone would make "The Abandoned Field" of great interest, but the film also does more. This movie is quite well made. The story is briskly paced, but it still takes time for quiet observations of the couple's frugal family life as they hide from the choppers. The film's visual surface appears equally frugal. The hand-held black & white cinematography gives the images a rough-hewn feel that captures the spirit of the 1960s New Wave and resembles early newsreels of the war. This visual approach might have been completely determined by the economic realities of the time, but the film's low-tech look seems to stand in defiant opposition to Hollywood's high-gloss surface. It's as though director Hong Sen Nguyen wanted to utilize a "guerilla" visual style to match the content of his story. Of course, being from Vietnam, "The Abandoned Field" wants us to side with the guerillas, but the movie also acknowledges the humanity of an American soldier and presents him as an equal victim of the war. Certainly, the movie is more even-handed than most American films about Vietnam, especially those of the Rambo/Chuck Norris variety. The movie's biggest drawback for U.S. audiences is that its American characters are played by Vietnamese actors (some of whom look racially mixed) speaking in the Vietnamese language. Of course, this instance of unbelievable casting arose from Vietnam's lack of access at the time to professional American talent. The American viewer simply has to accept it as a convention. Another admirer of "The Abandoned Field" is director Oliver Stone, who also bemoans the film's lack of authenticity in things American. He once remarked at a UCLA panel that he wished he could have been the film's technical advisor. But its inaccuracies didn't interfere with his enjoyment of the movie. (Stone would go on to direct his own war drama told from the perspective of a Vietnamese woman: 1993's "Heaven & Earth.") "The Abandoned Field" offers American audiences an unusual and absorbing story. Coming to the movie with an open mind, viewer

现代懒人李知秋意外穿越到七十年代，本想安稳度日，不料亲姨暗中偷走户口本，私自替她报名下放北大荒。李知秋干脆顺水推舟奔赴边疆，凭借现代知识集结六人小队。众人手握兵工铲扎根荒原，对抗沿路车匪，搭建地窝子、改良烟道、维修农机、开凿水渠，在严寒艰苦的北大荒艰苦开拓。她从被众人轻视的小姑娘，成长为农场团顾问，依靠智慧克服重重难关，将苦寒荒原经营得欣欣向荣，曾经只想躺平的她，直接在七十年代实现躺赢。