如果世上有后悔药，她宁愿花钱，也不会在路上绑男人。如果她当初没这样做，就不会被那残暴的世子爷吊在鬼门关上，死不了也活不好。那是四月的一个晚上，京城的护城河街边，突然快速地闪过几个黑影。眨眼间，那几条黑影已经窜进了一条小巷……

长期在外的军人赛回到家乡参加女儿的婚礼。婚礼上欢快的场面让他想起了当年的自己：那时他刚刚12岁，新娘图伊特18岁。图伊特是小妾的女儿，没有什么文化，赛对这个父母硬塞给他的妻子厌恶至极。尽管图伊特竭尽全力想要得到丈夫的爱，但这场带有包办性质的婚姻从一开始就注定是场失败。为了逃避图伊特，赛参了军，并且爱上了另一个女孩，最终选择了离开家乡。 多年以后，在女儿的婚礼上，再一次站在赛身旁的图伊特，泪如泉涌。

长期在外的军人赛回到家乡参加女儿的婚礼。婚礼上欢快的场面让他想起了当年的自己：那时他刚刚12岁，新娘图伊特18岁。图伊特是小妾的女儿，没有什么文化，赛对这个父母硬塞给他的妻子厌恶至极。尽管图伊特竭尽全力想要得到丈夫的爱，但这场带有包办性质的婚姻从一开始就注定是场失败。为了逃避图伊特，赛参了军，并且爱上了另一个女孩，最终选择了离开家乡。 多年以后，在女儿的婚礼上，再一次站在赛身旁的图伊特，泪如泉涌。

投行副总江羡鱼重生后转行做保姆，受雇苏家。她凭借能力赢得苏家长辈喜爱，与苏临渊互生情愫。期间解决公司危机、摆脱原生家庭纠缠，在苏临渊支持下创立家政公司。最终两人跨越身份，收获事业与爱情双圆满

讲述了人类饮食习惯的改变过程，食物大批量生产所带来的一系列后果，以及肥胖与瘦弱的根源是什么，其中，一定有你想象不到的结论。

讲述了人类饮食习惯的改变过程，食物大批量生产所带来的一系列后果，以及肥胖与瘦弱的根源是什么，其中，一定有你想象不到的结论。

A masterwork of Sri Lankan cinema, this moving saga of family and class conflict was made by Lester James Peries, his country’s foremost filmmaker and a director much admired by India’s Satyajit Ray. 　　Gamperaliya is regarded as a cornerstone of Sri Lankan cinema, launching upon its release in 1964 ‘a revolution, not only in the way films were made, but also in the content,’ according to producer Anton Wickramasinghe. 　　Peries sought an alternative to the Bollywood-influenced melodramas that dominated Sri Lanka’s commercial cinema, writing stories that looked at the staple issues of melodrama in a more nuanced way. 　　The film, adapted from a novel by Martin Wickramasinghe, focuses on Piyal, a teacher and member of the new rising middle class, who falls in love with the daughter of his village’s leading aristocratic clan; the girl’s parents insist upon a marriage to a stuffed shirt of her own class, one that shifting social forces are already rendering obsolete. 　　Gamperaliya is filmed in an elegant and uncoercive narrative style that has been compared to Satyajit Ray’s Apu Trilogy; its aesthetic choices also have a moral dimension: at every level, this is a movie about the importance of setting aside illusion and exaggeration and seeing things as they are.

A masterwork of Sri Lankan cinema, this moving saga of family and class conflict was made by Lester James Peries, his country’s foremost filmmaker and a director much admired by India’s Satyajit Ray. 　　Gamperaliya is regarded as a cornerstone of Sri Lankan cinema, launching upon its release in 1964 ‘a revolution, not only in the way films were made, but also in the content,’ according to producer Anton Wickramasinghe. 　　Peries sought an alternative to the Bollywood-influenced melodramas that dominated Sri Lanka’s commercial cinema, writing stories that looked at the staple issues of melodrama in a more nuanced way. 　　The film, adapted from a novel by Martin Wickramasinghe, focuses on Piyal, a teacher and member of the new rising middle class, who falls in love with the daughter of his village’s leading aristocratic clan; the girl’s parents insist upon a marriage to a stuffed shirt of her own class, one that shifting social forces are already rendering obsolete. 　　Gamperaliya is filmed in an elegant and uncoercive narrative style that has been compared to Satyajit Ray’s Apu Trilogy; its aesthetic choices also have a moral dimension: at every level, this is a movie about the importance of setting aside illusion and exaggeration and seeing things as they are.