三岁女童苏晚老街走失，被拐深山历经十五年磨难。父母十五载从未放弃，辗转千里苦苦寻亲、坚守团圆信念。一场便利店偶遇，血脉羁绊让母女一眼相认，DNA核验终证身份，破碎家庭圆满重聚。涉案人贩子全部落网伏法，彰显法治正义。饱经苦难的苏晚自强不息，打工自学、逆袭成才，与过往苦难和解，在亲情滋养中向阳成长，传递天下无拐、向善奋进的正能量。

村民王春莲贪求红包，伙同他人两次拦婚车索要钱财，遭杨远拒绝后，剪断监控、在路上撒钉子扎破婚车轮胎，造成财产损失。她身为镇协管员的儿子赵二财出面施压，想要私下和解干扰办案。完整监控锁定全部证据，相关人员被依法判刑，资产拍卖用于赔偿。杨远拿到赔偿后回乡，打造婚庆文旅项目带动乡村发展。

马尼·考尔在《抵达》（Arrival）中呈现了一幅深刻的画卷。人们、妇女、水果、花卉、蔬菜、山羊和绵羊纷纷涌入城市，它们都成了待被消耗的对象。影片的核心便是这种消耗与剥削的过程。通过一系列由迷人配乐串联起来的画面，我们看到了城市生活中的残酷与人性的泯灭。或许……最精彩的部分还在后面。

Mani Kaul presents a searing study in Arrival. To the city come men, women, fruits, flowers, vegetables, goats and sheep – all ready for consumption. It is the process of consumption/exploitation that forms the core of the film. In a collage of images held together by an engaging soundtrack we are shown the brutality and dehumanisation of city life. Perhaps the best part of the film is the scene in the slaughterhouse where Mani shows us the routineness of death – rows upon rows of slaughtered goats and sheep, all ready for human consumption. Because he refuses to sentimentalise, the effect is electric. Only once before have I experienced the same cold academic ferocity, in Franju's La Sang des Betes. Mani extends the slaughterhouse metaphor to labour-intensive areas where human beings are exploited and reduced to insignificant cogs in a giant, merciiess machine. The film raises more questions than it can possibly answer. That perhaps is its intention. Mani Kaul intended to capture just the temporalities of the migrated workers. However films division added an English voice over to explain the images. The film is violent to say the least and is reminiscent in parts of Pasolini's later works.

Jan Vermeer (1632-75) was little known outside Holland either during his lifetime or for more than 200 years after his death, yet he is now acknowledged to be one of the most gifted and intriguing painters of the seventeenth century. This film looks at the social, political and scientific context in which this most enigmatic of painters lived, from the birth of an independent Dutch society to the incredible developments in the fields of optics, astronomy and geography that so transformed the seventeenth century. Vermeer's life and his art is shrouded in mystery - he left no papers, no drawings, no clues as to the meaning or intention of his paintings, and he died leaving such substantial debts that his widow was forced to sell all his work. This film explains his revolutionary techniques and his exploratory process of pictorial composition while academics including Jonathan Miller and Svetlana Alpers discuss the meaning of Vermeer's settings and subjects, and the formal simplicity and intensity of feeling that make his jewel-like paintings so moving.

苏晚晴弥补陆景琛时，沈浩宇疯狂破坏，制造误会、伪造证据，令陆景琛动摇。苏晚晴对峙戳破谎言，真相渐显。陆景琛公司遇危机，与沈浩宇勾结的对手施压，两人感情再受考验。苏晚晴学业务助其应对，两人携手化解危机，感情升温。沈浩宇受惩，两人解清误会，陆景琛求婚，苏晚晴怀孕，爱情终圆满。

一场替嫁，她成了人人避之不及的他的妻子。他身世成谜，高冷寡言，却对她温柔入骨。她以为这是一场合约婚姻，渐渐交付真心却不知一场二十年前的掉包，正悄然浮出水面。当身份揭开，血缘归位，她才发现，这段看似偶然的姻缘，或许早已注定。而他，从始至终都在告诉她，无论你是谁，我选的，从来都只是你。

20年前身家优渥的陆家太太顾云淑，拼尽全力生下女儿， 却在出生当日，被她视为亲友的林美如夫妇掉包。此后， 陆家养育假干金陆芊玥20年，而真千金却流落到了城中村卖包子的夏家，以夏南溪的身份生活。二十年后，夏南溪为替家族完成承诺，替表姐嫁给了隐藏身份的华都首富战承砚。而战承砚恰巧又是假干金陆芊玥的梦中情郎。由此，真假干金在二十年后又被命运牵连在一处！

20世纪90年代，小龙 （李现饰）、方圆、三皮和大四在职高学校里虚度着大把青春。小龙和方圆同时爱上了美丽的女孩冬冬 （顾璇饰）。四人偷轮船汽油卖钱的事败露被寻仇上门，冬冬也因此神秘失踪，几人从此分道扬镳。时隔多年，只有小龙还固执地要为下落不明的冬冬讨个说法。聚会上，步入中年的四人回忆往昔，小龙却突然逼大四说出当年冬冬“失踪”的真相，被尘封的“真相”，令他们永远无法抵达自己的内心 。

一对各玩各的有钱夫妻遇到一对普通情侣，男生无法抗拒金钱诱惑去接近富人妻，女生也面临同样诱惑，她最终能否坚守底线？