Fathers and sons, and political exile. In the fall of 1975, Franco is dying but repression continues. Jules and Eve, living well in exile in France, continue to assist the resistance. The underground calls with a job for either, and Eve goes, to the disappointment of their son, Laurent, visiting his parents at their seaside place in Cherbourg and not getting on well with his father. When a road accident in Spain brings tragedy, the father and son's conflict worsens. After Laurent and his girlfriend, Julie, pay a harrowing visit to Jules, Julie stays, taking Jules as a lover. Revelations and admissions about Jules and Eve make way for new ground for Jules and Laurent.

这绝非寻常小事。高一学生允智和班主任钟成有秘密恋情，如今怀了孕。可钟成却联系不上，也多日没来学校。他的妻子敏英冲进学校找丈夫，甚至报了失踪。和不想要这个孩子的钟成不同，允智原本希望生下孩子，终于拥有一个属于自己的家。但现在，她坚信只要打掉孩子，钟成就会回来。她非法弄到堕胎药，还去找了兽医诊所，试图终止妊娠。她的室友庆善陪着她，踏上这段焦虑、煎熬又令人不安的旅程。 　　《通往抹去的路》所展现的处境严肃、极端，且可能令人震惊。这并非仅仅因为从世俗角度看事情本身性质严重，或是后续会发生一系列可预见的后果 —— 影片真正的用意在于，它并不打算在这些方面过多纠缠。正当秘密与谎言之间似乎正上演着一场微妙的心理博弈时，允智大胆地将自己的愿望付诸行动，却一次次被彻底击垮。片中角色们将亲眼目睹：他们曾相信、想要相信，或是认为必须相信的那个世界，究竟有多冷酷无情。 　　因此，这并非一部纯粹浪漫的校园剧，也不是一则道德寓言，而是一部充满炽烈情感与汹涌波澜的故事 —— 在冷漠的世俗现实面前，成年人与孩子都被狠狠撼动。但即便在这样的混乱中，女孩们并未失去偶尔的幽默，也未丢掉友情与陪伴这一出口，最终找到了属于自己的某种结局。影片处理这一主题时展现出的魄力，十分引人注目。

这绝非寻常小事。高一学生允智和班主任钟成有秘密恋情，如今怀了孕。可钟成却联系不上，也多日没来学校。他的妻子敏英冲进学校找丈夫，甚至报了失踪。和不想要这个孩子的钟成不同，允智原本希望生下孩子，终于拥有一个属于自己的家。但现在，她坚信只要打掉孩子，钟成就会回来。她非法弄到堕胎药，还去找了兽医诊所，试图终止妊娠。她的室友庆善陪着她，踏上这段焦虑、煎熬又令人不安的旅程。 　　《通往抹去的路》所展现的处境严肃、极端，且可能令人震惊。这并非仅仅因为从世俗角度看事情本身性质严重，或是后续会发生一系列可预见的后果 —— 影片真正的用意在于，它并不打算在这些方面过多纠缠。正当秘密与谎言之间似乎正上演着一场微妙的心理博弈时，允智大胆地将自己的愿望付诸行动，却一次次被彻底击垮。片中角色们将亲眼目睹：他们曾相信、想要相信，或是认为必须相信的那个世界，究竟有多冷酷无情。 　　因此，这并非一部纯粹浪漫的校园剧，也不是一则道德寓言，而是一部充满炽烈情感与汹涌波澜的故事 —— 在冷漠的世俗现实面前，成年人与孩子都被狠狠撼动。但即便在这样的混乱中，女孩们并未失去偶尔的幽默，也未丢掉友情与陪伴这一出口，最终找到了属于自己的某种结局。影片处理这一主题时展现出的魄力，十分引人注目。

Levon remembers his childhood in Turkey: love, political brutality. A bloody comedy. Also a modern crime story about Armenian terrorists and Turkish secret agents, about Kurds tragedy. 　　Askarian’s most recent project is another meditation on the artist in exile. Like the filmmaker Avetik and the real-life composer Komitas from his previous films, Levon - a writer of Armenian extraction now living in Rotterdam - is caught between memories of homeland and the realities of contemporary life. From his Dutch domicile, Levon reminisces about his brother-in-law (a hairdresser who robs dead Turks), a brilliant Kurdish musician, a red-bearded executioner, a seventeen-year-old girl with chestnut-colored skin, and a Turkish Apollo with eight wives who likes to bury himself in hot ash. His memory is also populated by beautiful thoroughbred horses, stray dogs, camel drivers, soldiers, and Turkish policemen. These poetic, almost surrealist scenes of magic love and political cruelty are contrasted with the reality of present day Rotterdam, presented in the guise of a modern crime story with Armenian terrorists and a Kurdish tragedy. 　　"Every year, we look at thousands of films and when one shines above the rest, as ON THE OLD ROMAN ROAD did, it is indeed a pleasure. Don Askarian, recently honored with a Harvard Film Archive retrospective, is considered the greatest living Armenian filmmaker. In Askarian's latest film, which he describes as “a bloody comedy”, a man in exile remembers a childhood of magic and mayhem, complete with grave robbers, brutal assassinations, horses, and men buried in hot ash. As striking a visual feast as one can find, this is an extravagant and crystalline treasure, a film whose rewards far outweigh its considerable demands."

Levon remembers his childhood in Turkey: love, political brutality. A bloody comedy. Also a modern crime story about Armenian terrorists and Turkish secret agents, about Kurds tragedy. 　　Askarian’s most recent project is another meditation on the artist in exile. Like the filmmaker Avetik and the real-life composer Komitas from his previous films, Levon - a writer of Armenian extraction now living in Rotterdam - is caught between memories of homeland and the realities of contemporary life. From his Dutch domicile, Levon reminisces about his brother-in-law (a hairdresser who robs dead Turks), a brilliant Kurdish musician, a red-bearded executioner, a seventeen-year-old girl with chestnut-colored skin, and a Turkish Apollo with eight wives who likes to bury himself in hot ash. His memory is also populated by beautiful thoroughbred horses, stray dogs, camel drivers, soldiers, and Turkish policemen. These poetic, almost surrealist scenes of magic love and political cruelty are contrasted with the reality of present day Rotterdam, presented in the guise of a modern crime story with Armenian terrorists and a Kurdish tragedy. 　　"Every year, we look at thousands of films and when one shines above the rest, as ON THE OLD ROMAN ROAD did, it is indeed a pleasure. Don Askarian, recently honored with a Harvard Film Archive retrospective, is considered the greatest living Armenian filmmaker. In Askarian's latest film, which he describes as “a bloody comedy”, a man in exile remembers a childhood of magic and mayhem, complete with grave robbers, brutal assassinations, horses, and men buried in hot ash. As striking a visual feast as one can find, this is an extravagant and crystalline treasure, a film whose rewards far outweigh its considerable demands."

强制集中营制度猖獗，不分老少男女，无辜的人们在毒气室或炉灶中被杀害。即使少算，其人数也被认为超过1200万。此外，进行各种活体实验，恐怖在可想象的范围内作为享乐被上演。尤其受到严重迫害的是犹太人。 　　仅仅因为是犹太人，超过500万人的大屠杀是世界历史上最大的犯罪——随着德国纳粹的失败，这些犯罪得以揭示。

强制集中营制度猖獗，不分老少男女，无辜的人们在毒气室或炉灶中被杀害。即使少算，其人数也被认为超过1200万。此外，进行各种活体实验，恐怖在可想象的范围内作为享乐被上演。尤其受到严重迫害的是犹太人。 　　仅仅因为是犹太人，超过500万人的大屠杀是世界历史上最大的犯罪——随着德国纳粹的失败，这些犯罪得以揭示。

婚后十三年，因为不能生育的原因，原本爱舒南入骨的邵北川变了心，选择了甘愿当秘书也要留在自己身边的丁悦，出轨且让丁悦怀上了自己的孩子。一个契机下，舒南通过当初邵北川第一次写情书表白的练习册，竟然能和18岁的邵北川对话，甚至改变了自己的命运，也在现实里对31岁的邵北川彻底死心，决定离婚回归属于自己的人生。

婚后十三年，因为不能生育的原因，原本爱舒南入骨的邵北川变了心，选择了甘愿当秘书也要留在自己身边的丁悦，出轨且让丁悦怀上了自己的孩子。一个契机下，舒南通过当初邵北川第一次写情书表白的练习册，竟然能和18岁的邵北川对话，甚至改变了自己的命运，也在现实里对31岁的邵北川彻底死心，决定离婚回归属于自己的人生。

一对儿合租兄弟，一对儿卡车情侣，一场从北到南的荒诞旅程。