时晚前世被贪财的舅舅舅妈害死，临终才知丈夫傅霆琛深情不渝，为她报仇后殉情。一朝重生，她回到嫁入傅家之前，决心珍惜傅霆琛，狠狠报仇仇人。傅霆琛本是冷酷嗜血的傅爷，身患怪疾、狂躁难控，却唯独对时晚温柔至极，为她一次次打破原则。时晚凭借医术悉心照料，稳住傅霆琛的病情，却意外引来了幕后黑手。

科特迪瓦三姐妹——42岁的玛丽、27岁的南妮与23岁的朱莉——共居突尼斯一隅。她们的栖身之所昼夜交替着双重面孔：日间是震颤着福音赞歌的布道堂，入夜则化身飘散北非香料的私厨。当三人决意收留沙漠救回的4岁幼童肯扎后，这个糅合血缘与救赎的非常态家庭开始崩塌，三位女性不得不在突尼斯动荡的时局中，重新解构自己作为"母亲"、"信徒"与"异乡客"的身份迷思。

科特迪瓦三姐妹——42岁的玛丽、27岁的南妮与23岁的朱莉——共居突尼斯一隅。她们的栖身之所昼夜交替着双重面孔：日间是震颤着福音赞歌的布道堂，入夜则化身飘散北非香料的私厨。当三人决意收留沙漠救回的4岁幼童肯扎后，这个糅合血缘与救赎的非常态家庭开始崩塌，三位女性不得不在突尼斯动荡的时局中，重新解构自己作为"母亲"、"信徒"与"异乡客"的身份迷思。

为报复死对头，沈妩斥巨资买了个和陆斯聿一模一样的仿真机器人。白天正经公司的女总裁，夜晚回到家摇身一变化作训犬大师。机器人听话，智能，忠诚。只是…这机器人，怎么越来越像她那个死对头了。

为报复死对头，沈妩斥巨资买了个和陆斯聿一模一样的仿真机器人。白天正经公司的女总裁，夜晚回到家摇身一变化作训犬大师。机器人听话，智能，忠诚。只是…这机器人，怎么越来越像她那个死对头了。

替姐姐嫁给了一个落魄富二代，日子一穷二白，没想到老公其实是厉家掌门人！而自己竟然在三年前救过他一命……

In this three-part story by Uzbekistan director Elyer Ishmukhamedov. Two young men meet two young pretty women at a carnival in this coming-of-age drama. The quartet enjoys the festive atmosphere as they try to forget the horrors of the most recent war. On the brink of adulthood, the characters learn valuable lessons about their lives. Made in 1967, this feature won a Special Award at the International Week Of Asian Film Festival in Frankfort as well as a prize from the Locarno Film Festival. 　　Elyer Ishmukhamedov's 1967 film was deeply influenced by and tuned into the French New Wave and the latest currents in Italian cinema, and there are long stretches in this incandescent film where you might think you're watching a lost Fellini classic. It's summertime in Tashkent, and these three intertwined stories of young love (the first sharing the name of the film itself, the other two named after their heroines, Lena and Mamura) seem to float over the screen like gossamer on a warm breeze. TENDERNESS is filled with unforgettable passages and images, and it's a guarantee you'll go home dreaming of its central image of boys and girls happily lounging in their inner tubes as they float down a river.

女导演温柔为编剧鱼乐讲述了一个故事，女孩温柔和男朋友小飞如胶似漆的恋爱因为一个事件而改变，故事有多少是真的？有多少是虚构？谁也不知道……

In this three-part story by Uzbekistan director Elyer Ishmukhamedov. Two young men meet two young pretty women at a carnival in this coming-of-age drama. The quartet enjoys the festive atmosphere as they try to forget the horrors of the most recent war. On the brink of adulthood, the characters learn valuable lessons about their lives. Made in 1967, this feature won a Special Award at the International Week Of Asian Film Festival in Frankfort as well as a prize from the Locarno Film Festival. 　　Elyer Ishmukhamedov's 1967 film was deeply influenced by and tuned into the French New Wave and the latest currents in Italian cinema, and there are long stretches in this incandescent film where you might think you're watching a lost Fellini classic. It's summertime in Tashkent, and these three intertwined stories of young love (the first sharing the name of the film itself, the other two named after their heroines, Lena and Mamura) seem to float over the screen like gossamer on a warm breeze. TENDERNESS is filled with unforgettable passages and images, and it's a guarantee you'll go home dreaming of its central image of boys and girls happily lounging in their inner tubes as they float down a river.