When the film begins, it is all over. “We know it’s terminal, and that’s all”, says Juliane of her mother Kerstin, who is in great pain and about to die aged just 64. Although the young doctor she consults acknowledges on a personal level that everyone has the right to manage their own death, he nonetheless reminds her that euthanasia is still illegal in Germany. This is even more the case at the Catholic hospice where Kerstin is staying. As relatives come to say goodbye to her mother and the emotions of memories mingle with the anticipation of grief, Juliane finds herself having to do battle with time – unbending, apathetic and monochrome – and this is superbly reflected in the convulsions of the handheld camera in wide shots. 　　Based on personal experience, Jessica Krummacher’s second feature film vividly relates the painful story of losing a parent. There is no violence or morbidity, rather the director describes the most important of events via the smallest, most fragile of details – the exchanging of words, texts and tender gestures that remain with us and get under our skin.

When the film begins, it is all over. “We know it’s terminal, and that’s all”, says Juliane of her mother Kerstin, who is in great pain and about to die aged just 64. Although the young doctor she consults acknowledges on a personal level that everyone has the right to manage their own death, he nonetheless reminds her that euthanasia is still illegal in Germany. This is even more the case at the Catholic hospice where Kerstin is staying. As relatives come to say goodbye to her mother and the emotions of memories mingle with the anticipation of grief, Juliane finds herself having to do battle with time – unbending, apathetic and monochrome – and this is superbly reflected in the convulsions of the handheld camera in wide shots. 　　Based on personal experience, Jessica Krummacher’s second feature film vividly relates the painful story of losing a parent. There is no violence or morbidity, rather the director describes the most important of events via the smallest, most fragile of details – the exchanging of words, texts and tender gestures that remain with us and get under our skin.

《我母亲的消失》是一部激进的纪录片，它诞生于一个渴望解放自己的母亲和一个渴望利用电影媒介与她保持亲密关系的儿子之间的一系列对抗之中。BenedettaBarzini是一位受人尊敬的意大利模特，她通过成为一名记者和教授打破了陈规陋习，并通过公开批评时尚界根深蒂固的厌恶情绪而臭名昭著。但是现在，在她70多岁的时候，巴兹尼对图像世界的厌恶已经加深到一个存在主义的危机中。她悄悄地、毫无预兆地收拾好行李，告诉儿子贝尼阿米诺，她打算永远从物质世界消失。贝尼阿米诺惊恐万状，设计了一个计划，他希望允许她面对而不是逃跑她最不信任的东西：相机。通过拍摄她的电影，他打算挽救他母亲的真实本质，并保存她的叙事。

三个浪漫功能失调的姐妹试图驾驭她们母亲的第三次婚礼：三姐妹回到她们童年的家度过了一个重要的周末——两次丧偶的母亲戴安娜(托马斯)将举办第三次婚礼。这三个女儿来自截然不同的行业：乔治娜（艾米丽·比查姆 Emily Beecham 饰）是一名保守的护士，维多利亚（西耶娜·米勒 Sienna Miller 饰）是好莱坞明星，凯瑟琳（斯嘉丽·约翰逊 Scarlett Johansson 饰）是皇家海军上尉 。周末，一家人聚在一起庆祝新婚，但在一群意想不到的婚礼宾客的协助下，母女们都被迫重新审视过去并面对未来。

一个脾气暴躁的青少年，爱上了他母亲呆在家里的漂亮朋友。

Eli lives with Marie, his strong-willed mother. Nostalgic for an unbridled youth, “the sex” is an obsession with the old lady. Intrusive, she would like her son to have the same sexual fulfillment as her. One night, Mary dies…

一个脾气暴躁的青少年，爱上了他母亲呆在家里的漂亮朋友。

三个浪漫功能失调的姐妹试图驾驭她们母亲的第三次婚礼：三姐妹回到她们童年的家度过了一个重要的周末——两次丧偶的母亲戴安娜(托马斯)将举办第三次婚礼。这三个女儿来自截然不同的行业：乔治娜（艾米丽·比查姆 Emily Beecham 饰）是一名保守的护士，维多利亚（西耶娜·米勒 Sienna Miller 饰）是好莱坞明星，凯瑟琳（斯嘉丽·约翰逊 Scarlett Johansson 饰）是皇家海军上尉 。周末，一家人聚在一起庆祝新婚，但在一群意想不到的婚礼宾客的协助下，母女们都被迫重新审视过去并面对未来。

揭露墨西哥司法黑幕的纪录片：和渣男同居生子的14岁女孩突然失踪，女孩母亲苦苦追寻。最终渣男承认杀妻，但法庭竟然判无罪；母亲寻求社会支持，二审法院改判有罪但渣男已潜逃且加入贩毒集团。无法抓住渣男的母亲，只有在州政府外面居住抗议，某夜母亲被凶手当众杀害，替罪羊被抓住定罪。渣男最后死于帮派的枪战中。 　　母亲的三重死亡应该是指：女儿的死亡（哭死）、一审无罪的判决（心死）、被枪杀于州政府门口（身死）。

为了筹钱救父亲，十八岁的金国秀惜别昔日恋人祝宇中，嫁到城中富商侯志宏家做填房，并许诺其前妻抚养侯云朗。在侯家，国秀虽受丈夫冷遇，婆婆刁难，但坚毅好强的个性支撑她挑起生活的大梁，慢慢赢得了侯家及当地商界的尊重。志宏反袁被捕，国秀挺着肚子去救志宏，却发现丈夫另有外遇含芳，国秀愤然离去，夫妻关系名存实亡，志宏后悔莫及，国秀却在侯母的要求下留在侯家支撑家业。抗战爆发，儿子参军报国，女儿加入共产党，国秀卖掉家产创办慈善机构收养孤儿。解放战争爆发，面临不同的信仰，侯家人走上了不同的政治道路，两个儿子相继在革命中牺牲，志宏被迫亲自杀死自己的爱女侯如玉，几近崩溃，最终宣布带部起义。重庆解放，政府偿还国秀两千两黄金，她婉拒并做出了另一个选择。