苏远山将妻女留下当诱饵拖延敌军，苏千雪（郭宇欣 饰）与母亲险遭士兵凌辱，戴着面具的修罗王（吴竹熙 饰）救下苏千雪。苏千雪逃离途中遇到一个被病魔折磨的白衣男子，误以为他也是俘虏，带着他一起逃离，却不知他就是卸下面具的修罗王。苏千雪与修罗王逃到山野间生活，日久生情，私定终身。苏千雪回去接母亲，修罗王筹备大婚，并大赦天下。苏远山得意归来，发现苏千雪未婚先孕，对她百般羞辱，修罗王救走苏千雪，将苏家的一切赏赐全部收走，并且严惩小人。

家桦的思绪从留学前的一次随父母回乡的旅程开始。不论是生活二十年的广州，还是故里潮州，在不断的回溯中，他被困在乡土记忆和更早期的乡土记忆中间，记忆越发模糊了，但对自己身份的认识却越发清晰。

一个男人被其未婚妻指控通奸，从而被迫搬回家与父母同居。当他为四岁女儿的监护权而战时，也逐渐卷入了父母和邻居由于一棵美丽的古树而起的争执。影片探讨了普通人之间的荒谬斗争，在其现实主义的基调下有着喜剧和惊悚元素。片中尖刻和讽刺的地方或许显得夸张，但也揭示了中产阶级背后的真相。

都市生活艰辛残酷，年轻人该躺平还是奋进？《深城树下》给出别样答案：爱情至上。 “疯批霸总”专业户甄子琦饰演男一，看他如何演绎音乐人固执与恋爱脑； 演艺界“反渣斗士”辛雨锡饰演女一，看她如何诠释音乐人的洒脱与姐弟恋。 影片大量录用深圳音乐人的原创歌曲，堪称耳朵盛宴。插曲与人物成长阶段相呼应，每一首都能烘托故事氛围，观众仿佛在看演唱会或音乐剧。人物、人与城市的情感通过音乐实现了更意象化的表达。

讲述了一位“深漂”音乐人始终坚持初心、克服万难、执著追梦的故事。大学毕业后的萧默来到深圳，先在酒吧驻唱，之后当了外卖小哥。期间，结识了歌手浩哥、人生导师谷子、心爱之人宁朦。一次意外让萧默来到了工地打工，在此期间他将在深圳的所见所闻所感原创了一首歌曲，并在工友聚餐时弹唱，被人传上了网络，引起了小范围的关注。经过谷子的开导，萧默看清了自己的初心，经过一番波折，乐队组建成功。但好景不长，家人的反对、乐队成员的分歧、情人之间的误会、谷子的病重，乐队几近解散。经过一番挣扎，众人总还是不忘初心，怀揣着对音乐的热爱而再次走到了一起！同时，每个人也终与家人和解，解开了各自的心结。

新垣结衣在上海拍摄的心情短剧。新垣结衣一人分饰两角，讲说她独自到上海旅行，偶遇与自己长相一模一样的女生

The fear of being overwhelmed by the outside world can almost litterally make you lose your head...

A diary film about a relationship between a man (Alain Cavalier) and a woman, told entirely through voice-overs by the two participants, spoken over largely static images (of household objects, animals, parts of the body, rooms, landscapes etc.). At times an emotional direction emerges (an articulation of love, loss, frustration), then it retreats. At times the film seems to be about its own making; at others it seems merely to drift. 　　Imdb Review: Alain Cavalier's latest film is deceptively simple and yet revolutionary because it seems to stand outside the boundaries of narrative and documentary filmmaking. One could describe "La Rencontre" as a cinematic diary--a home movie that documents the filmmaker and his muse during the course of their relationship. But unlike most movies the human subjects here are never photographed in whole, just partially. This brave new work is as much about Cavalier's object of desire, that is, his lover as it is about the medium that gives expression to his love. It is conceived as one part confessional and one part discourse on the metaphysics of love and cinema. The cinema, for Cavalier, is like a two-way mirror that records images while reflecting those images back onto itself. Subject and object appear to mirror each other's identity until they assume new personae in the process. 　　The immediate challenge for Cavalier, then, is cinema's objective gaze: the ability of the camera to record the physical nature of reality. But Cavalier's chief interest is just the opposite. He wants to demonstrate the possibility of a new cinema: one that evolves out of concealment and subterfuge. This cinema deemphasizes the human landscape and dislocates the image from its voice. It focuses inward rather than outward, and chooses to explore the intangible and the abstract over the tactile and the concrete. 　　Appropriately, Cavalier's cine-diary unfolds like an open book: his twin loves (muse and cinema) are illuminated through a series of tableaux filled with close-up objects which are brought vividly to life by the imagination and the transfigurative power of the cinema. It is as if these everyday objects have become the lovers' collective memories saturated with the emotions and energy of life. In short these objects have assumed a life of their own becoming humanized and perhaps immortalized in the process. After all isn't this precisely the paradox of cinema--the ability to resurrect inanimate objects, to bring them back to life at 24 frames per second?

周家璧遭上司始乱终弃，珠胎暗结大受打击的她晕倒街头，幸得画家沈叶相救。璧小产出院后十分消沉，但碍于要负担弟妹生活，唯有立刻寻找工作。一天她重遇已当上医生的旧同学丁世华，得他介绍到疗养院工作，二人日久生情。 　　原来叶对璧亦萌生爱意，但碍于性格怯懦，不敢表白。璧的妹妹家燕知他心意，欲助他一臂，及得悉璧、华婚讯，即自暴自弃，加上画展失败，更形沮丧。燕不断鼓励叶，对他由怜生爱，但叶对璧情有独钟，拒绝了燕，更搬离旧居。后叶患重病，把珍藏画像送给璧，得璧规劝，亦感燕情深义重，终重新振作。