在一所影视类高校里，发生在两个宿舍，八个年轻人身上的故事。反映了当代大学生，离开父母怀抱，独立面对社会，面对成长，面对每一个崭新的人生课题时，…

焊工于鱼独居在南方的一座小镇，常在深夜结束工作。某晚，他在路边救助了一名因摩托车事故受伤的女孩。这次相遇点燃了他内心对爱情的渴望，但长期的孤独让他的身体与灵魂都陷入混乱，使他在女孩面前变得迟疑而缄默。女孩如一场短暂的梦般闯入又离开他的生活，留下的只有游离不定的迷茫，他仿佛被困在无法前行的虚无之中。

"Jacques Tourneur at work in color on Western landscapes is something to behold. The credits roll over a matte of a damp day in Portland (slanting rooftops, a ship’s half-seen mast, boards over a muddy street) that’s practically a Grafström, the Oregon Trail that follows is finely-drawn watercolor. The nascent commune of Jacksonville would be Fordian, except that Dana Andrews’ negation of piety ("A man can choose his own gods") and Andy Devine’s acknowledgement of Indian rights ("We’re on their land. They ain’t likely to forget that") challenge Manifest Destiny. Overlapping triangles -- Andrews-Susan Hayward-Patricia Roc, Andrews-Hayward-Brian Donlevy, Andrews-Roc-Victor Cutler, Hayward-Donlevy-Rose Hobart. Hoagy Carmichael with mandolin amid the ramblers and settlers is wastrel, commentator, mediator, and voyeur ("...a little store and lots of time"). The cabin-rising sequence tips its hat to Hathaway’s Trail of the Lonesome Pine, and was studied by Weir. The wedding bash celebrates wholeness but these are forces in tenuous balance, Donlevy voices Tourneur’s ambivalence ("The illusion of peace is upon it") moments before the Indians materialize via a single reverse shot that seems to introduce a parallel world. Another space-expanding reverse shot, this time embodying tensions from within rather than from without, takes place right before Andrews’ brawl with Ward Bond, cutting from a medium-shot of the two at the saloon counter to another revealing the townspeople in the wings, waiting for the spectacle. (The fight, remarkably bloody and ugly, hinges on the haunted image of the disoriented Bond smashing his fist into a wooden pole. Hayward sits with the cheering crowd.) A film of "thin margins": The saloon doubles as a hanging courtroom, the garden becomes an inferno. The view of a dazed Roc wandering in the woods after the slaughter is from I Walked with a Zombie, and finds its way into Demme’s Beloved; Stars in My Crown revisits the territory with hope for harmony, but Wichita and Great Day in the Morning know better."

Story follows the divergent agendas of criminals, cops and lawyers as they collide over a shipment of illegal firearms and a double homicide. Earl Pike, a criminal, tries to get his family's illegal gun collection to a safe haven.

"Jacques Tourneur at work in color on Western landscapes is something to behold. The credits roll over a matte of a damp day in Portland (slanting rooftops, a ship’s half-seen mast, boards over a muddy street) that’s practically a Grafström, the Oregon Trail that follows is finely-drawn watercolor. The nascent commune of Jacksonville would be Fordian, except that Dana Andrews’ negation of piety ("A man can choose his own gods") and Andy Devine’s acknowledgement of Indian rights ("We’re on their land. They ain’t likely to forget that") challenge Manifest Destiny. Overlapping triangles -- Andrews-Susan Hayward-Patricia Roc, Andrews-Hayward-Brian Donlevy, Andrews-Roc-Victor Cutler, Hayward-Donlevy-Rose Hobart. Hoagy Carmichael with mandolin amid the ramblers and settlers is wastrel, commentator, mediator, and voyeur ("...a little store and lots of time"). The cabin-rising sequence tips its hat to Hathaway’s Trail of the Lonesome Pine, and was studied by Weir. The wedding bash celebrates wholeness but these are forces in tenuous balance, Donlevy voices Tourneur’s ambivalence ("The illusion of peace is upon it") moments before the Indians materialize via a single reverse shot that seems to introduce a parallel world. Another space-expanding reverse shot, this time embodying tensions from within rather than from without, takes place right before Andrews’ brawl with Ward Bond, cutting from a medium-shot of the two at the saloon counter to another revealing the townspeople in the wings, waiting for the spectacle. (The fight, remarkably bloody and ugly, hinges on the haunted image of the disoriented Bond smashing his fist into a wooden pole. Hayward sits with the cheering crowd.) A film of "thin margins": The saloon doubles as a hanging courtroom, the garden becomes an inferno. The view of a dazed Roc wandering in the woods after the slaughter is from I Walked with a Zombie, and finds its way into Demme’s Beloved; Stars in My Crown revisits the territory with hope for harmony, but Wichita and Great Day in the Morning know better."

Civil War veteran Josiah Grey comes to a small town to be a gospel minister. In time he has a family and many friends, but he also finds friction with a few of his parishioners. A young doctor grates at what he feels is the parson's interference in the scientific treatment of patients, and a mine owner resents Grey's protection of an old sharecropper whose small plot of land stands in the way of his continued mining. Grey must face a public health crisis and a lynch mob as a result, all seen and described through the eyes and memory of Grey's young nephew John.

Civil War veteran Josiah Grey comes to a small town to be a gospel minister. In time he has a family and many friends, but he also finds friction with a few of his parishioners. A young doctor grates at what he feels is the parson's interference in the scientific treatment of patients, and a mine owner resents Grey's protection of an old sharecropper whose small plot of land stands in the way of his continued mining. Grey must face a public health crisis and a lynch mob as a result, all seen and described through the eyes and memory of Grey's young nephew John.

本部充满黑色幽默元素的动画短片，无处不带给你意外的“小惊喜”。驯兽师的皮鞭下换成了温顺的兔子，而魔术师的礼帽里居然钻出了狮子；伐木的工人手中的锯子与小提琴演奏者的琴弦互换；救生圈换成了捕鼠器；潜水员与消防员职责对调；年迈的老奶奶居然被误当成了垃圾……每一个小段落中，导演总是用两样看似毫无联系的东西作比，意料之外又情理之中。在错误的时间，错误的地点，发生了错误的互换该是件多么错误的事情。所以有些事，你最好别搞混。 　　这部由荷兰动画导演Joost Lieuwma制作的动画短片，是他当年的大学毕业作品。阴差阳错中的窘态百出和天马行空下的乾坤大挪移，都使得本片既无厘头又趣味十足。

老手与菜鸟飞机师驾驶的是中央情报秘密行机，运载东西更是包罗万有，从难民到军阀，从手榴弹到小猪，真是无奇不有。

方家有两姐弟，堪称一对活宝。姐姐方一歆，静如痴呆，动若癫痫。年近三十，相亲对象超两百人，她依旧没找到真命天子。父母坦然：“慢慢来，女孩子五十岁都还是一枝花”。