影片把我们带回1969 , Negev 边陲上一个极小隔离的以色列村庄。有二个犹太迁入的家庭,分别来自印度和摩洛哥，他们不太情愿的成为了邻居，开始崭新的生活......文化差异使得他们卷入了村庄的文化争斗中,印度人成立了一支板球队, 摩洛哥人设法破坏它..... 同时，两个家庭各自有一个十几岁的女儿--大胆开放的妮可和保守的萨拉。她们的年轻和对自由的渴望帮助她们克服她们的不同，成为了朋友..... 这孤立的小村庄，为我们带来了许多令人惊讶、好笑、伤感、曲折的故事.....这迷人、性感的影片是最近这十年票房最高的以色列电影。角色包括有来自法国，印度和以色列的国际演员阵容

Barbara of thirteen and George of eighteen have known each other a long time. They are neighbors and get along well. The friendship grows over time a deep love. As yet, however, Barbara is a minor , this relationship in the eyes of the environment reprehensible. After the first time the two have slept in a vacant house together, even feel a few kids, they might see Barbara as fair game and they try to rape her. Even with the parents, there are major problems. Above all, the fathers of the two are enemies for a long time. George's father came with a campaign of the early GDR "workers into the country" in the village, the idealism is now given way to bitterness, however, lethargy, especially given the substantive achievements of Barbara's father (the neighbor). This is mainly interested in money, otherwise blankly until primitive. Finally, a path that has found its opponents, the "comrades" to compromise and shows for George abuse to a minor. Even in school, there is little understanding. The school principal shall initiate disciplinary action, and George's future seems blocked, a study is no longer possible. Only the teacher stands on the porch, first two, and becomes a friend of Barbara. Finally, solidarity and the fellow with the lovers. 　　The film ends with the pronouncement of the sentence against George. There is the contradiction between a meaningful per se, but rigid law (Section 148) And the obviously genuine love of the two received. A final verdict is given in the film is not known, however, the subsequent marriage of the lovers, for George, "a small price" was paid.

Barbara of thirteen and George of eighteen have known each other a long time. They are neighbors and get along well. The friendship grows over time a deep love. As yet, however, Barbara is a minor , this relationship in the eyes of the environment reprehensible. After the first time the two have slept in a vacant house together, even feel a few kids, they might see Barbara as fair game and they try to rape her. Even with the parents, there are major problems. Above all, the fathers of the two are enemies for a long time. George's father came with a campaign of the early GDR "workers into the country" in the village, the idealism is now given way to bitterness, however, lethargy, especially given the substantive achievements of Barbara's father (the neighbor). This is mainly interested in money, otherwise blankly until primitive. Finally, a path that has found its opponents, the "comrades" to compromise and shows for George abuse to a minor. Even in school, there is little understanding. The school principal shall initiate disciplinary action, and George's future seems blocked, a study is no longer possible. Only the teacher stands on the porch, first two, and becomes a friend of Barbara. Finally, solidarity and the fellow with the lovers. 　　The film ends with the pronouncement of the sentence against George. There is the contradiction between a meaningful per se, but rigid law (Section 148) And the obviously genuine love of the two received. A final verdict is given in the film is not known, however, the subsequent marriage of the lovers, for George, "a small price" was paid.

海岸边离奇的自杀案掀起重重疑云，干探克罗斯到此侦查挚友的死因，却牵扯出一连串的案情，多年前无心的嬉戏使得峦生兄弟之一死于非命，三年前的车祸事故，加上新发生的谋杀案，都与葛瑞福一家人脱不了干系。女主角希利亚无辜的谎，言使得案情加扑朔迷离，俩兄妹之间的不伦之恋，还会造成多少悲刻？克罗斯干探又将如何自重重迷雾中拨云见日？且看本剧分晓。

上复读补习班的东九因为高考前最后一次模拟考试失败而心烦意乱，朋友振元一整天都没有眼力见，还对等待自己的大学生女友惠珍一气之下说了分手，东九感到烦闷....

《禁信》以年轻男孩拉里（罗伯特·亚当斯 饰）一心等待他那犯了抢劫罪的老情人理查德（理查德·洛克 饰）快一年了为背景展开叙事。当对方即将出狱回家的消息传来时，一整天都焦躁不安的拉里试图以各种各样的方法来消解他心中的谜题。 　　在与好友爱丽丝（维多利亚·杨 饰）的数次交谈中，他还翻阅了那些曾经写给理查德但最终没有寄出的“禁信”——因为他担心自己的关心只会害得对方徒增刑期。这些信积少成多，最终汇成了一本交杂着无数回忆的小册子…… 　　当理查德归来的公交车越来越靠近时，拉里心中的疑问愈发猛烈：在他下车后，彼此间的爱火是否如初？

Aki and Naoko are childhood friends who are drifting apart as adults. Immersed in her family life, Naoko now has a husband and daughter; Aki, on the other hand, remains single and is on leave from work due to a personal crisis. The plot might sound familiar but it has never been told like this. The director Kusano Natsuka stages the interactions through an actors’ table-read and, as the lines are repeated, the scenes gradually develop into on-location conversations. Moreover, she repositions the dramatic peak of the story to the beginning: Aki has murdered Naoko’s daughter. 　　Structurally inventive, Kusano's daring cinema implements ‘distantiation’ effects to get to the heart of friendship issues at times when life has settled. While the repetitions convey the suffocation of role patterns in both friendship and family, a line left out or added in unsettles and reminds us life can take unexpected turns.

Aki and Naoko are childhood friends who are drifting apart as adults. Immersed in her family life, Naoko now has a husband and daughter; Aki, on the other hand, remains single and is on leave from work due to a personal crisis. The plot might sound familiar but it has never been told like this. The director Kusano Natsuka stages the interactions through an actors’ table-read and, as the lines are repeated, the scenes gradually develop into on-location conversations. Moreover, she repositions the dramatic peak of the story to the beginning: Aki has murdered Naoko’s daughter. 　　Structurally inventive, Kusano's daring cinema implements ‘distantiation’ effects to get to the heart of friendship issues at times when life has settled. While the repetitions convey the suffocation of role patterns in both friendship and family, a line left out or added in unsettles and reminds us life can take unexpected turns.

インターネットで知り合った昴と香。彼らは心中を図るため、香の故郷である岩手を目指す。ひきこもりの昴は謎の少女、香を前に死に対する自分の思いを再確認していく。