1992年，坪洲少年俊贤邂逅了清纯的戏院女售票员阿欣，对她一见钟情。只是，第二天当他回到戏院寻找伊人时，发现她已离职。在那个只有call机，连手提电话都未普及的前互联网年代，要找一个只有一面之缘的人，谈何容易。俊贤于是凭借阿欣名牌上的全名“王家欣”这一个线索，开始寻找梦中情人 。

1992年，坪洲少年俊贤邂逅了清纯的戏院女售票员阿欣，对她一见钟情。只是，第二天当他回到戏院寻找伊人时，发现她已离职。在那个只有call机，连手提电话都未普及的前互联网年代，要找一个只有一面之缘的人，谈何容易。俊贤于是凭借阿欣名牌上的全名“王家欣”这一个线索，开始寻找梦中情人 。

在结婚礼堂上开溜的俞林穿着繁复的婚纱逃跑中，由于婚纱太过牵扯于是果断将下裙摆剪短时正巧被展览设计师石浩看到，偶然相遇的两人按照石浩的提议签了合约成了工作同事。俞林对石浩一见倾心，不单单为工作，也为浪漫的爱情，努力将一切都做得尽量完美。可是石浩却从心底认定两人的关系只是因为合约而一起工作的同事，对俞林会成为成功的职业女性充满期待。面对爱情无法自拔的俞林最终选择离去，石浩也去了意大利留学。 　　随着时间的流逝，安居于家庭生活中的俞林，忽然有一天收到了石浩寄来的录像带，带中记录的都是俞林过去埋头工作时的样子，俞林心中的情感无法抑制，也去了意大利寻找石浩。然而两个人互相之间到底期待的是什么？在两个人惊喜的懈逅后，疑问在两个人的心中产生。结果俞林离开了石浩，也离开了丈夫，又开始了一个人的生活。

故事讲述了瓦伦帝罗（吉欧勒·迪斯 Gioele Dix 饰）在父亲去世后接到一封信，要求他寻找父亲曾经热爱的托瑞若队黄金时代的传奇尖角号。作为一个一心工作的人，瓦伦帝罗对父亲为什么热爱足球和托瑞若队一直感到困惑。他忽视了生活和家庭，只专注于工作。然而，他并不知道父亲实际上几乎没有去球场观看比赛，而是在场外默默聆听和想象。 　　瓦伦帝罗决定寻找那只只存在于父亲记忆中的传奇尖角号，但他并不知道具体该如何进行。在寻找的过程中，他逐渐开始回忆起过去的片段，一点一滴的回忆闪现出来。这些回忆逐渐揭示出令人意想不到的真相，关于他父亲和自己的人生。随着瓦伦帝罗的寻找深入，他不仅发现了尖角号的下落，也开始理解父亲为什么对足球和托瑞若队有如此热爱。通过父亲的热情和执着，瓦伦帝罗逐渐认识到，生活中的关系和情感才是最重要的事情，而不仅仅是工作和事业的追求。

“不计其数城市的灯亮了又熄，就像人们，混杂、聚合、分离，然后再次聚首。它们照亮了这座城市里上演的形形色色的邂逅，以及那些数不清的心碎故事。但有时候，就像混在一起的汽车和鸣笛声，只是徒增了寂寞的喧嚣。”一个男子从阳台上俯视城市的灯光，好像那是他自己的倒影一般。即使灯光照亮了这个城市里上演的各色邂逅，但他渴望的男人只有那一个，就是住在一个屋檐下，隔壁房间里的那个他，即使他知道对方可能无法回应他的情感。那一晚，他寻找各自办法来搅动这隐藏多时的情感...这是一部寂寞的人儿看了之后秒懂的短片@地平线字幕组

A struggling country singer meets a Nashville songwriter in need of inspiration. Teaming up to write a song, their work gets complicated but results in both a hit song...and true love.

Director Idrissa Ouedraogo's sixth feature, The Cry of the Heart, takes us on a journey with strangers to a strange land, and shows us that demons, even if only imagined, can be devastatingly real. Sometimes, love and understanding aren't enough, and there are occasions when it takes the aid of an outsider to fight that single, decisive battle. 　　Moctar was born in France, but it is his "home" in name only. At age five, he and his mother, Saffi, had to move to Africa when Ibrahim, Moctar's father, could no longer afford to feed three mouths. Now, after years of separation, the family is reunited in France. But Moctar is suffering culture shock. He wants to return to Africa; everything about Europe seems wrong. Then he begins seeing a hyena roaming the streets of Paris, appearing in some of the most unexpected places. Since "there are no hyenas in France", everyone thinks he's hallucinating, with one exception: Paulo, a man Moctar meets on the streets, who sees in the boy a chance for atonement. 　　The Cry of the Heart has a tremendous gallery of characters participating in a deceptively simple tale that touches on a universal fear of the unknown. Moctar's hyena in obviously an allegorical figure, and his struggles represent an externalized war against the unfamiliar. Meanwhile, Paulo is battling to redeem himself by proving that isolated incidents in his past do not define the sum of his personality. 　　Ouedraogo handles his principal characters with a deft hand. Rarely is a husband-and-wife relationship portrayed with the genuine sense of affection and passion shown here, and the pair's concern for their troubled son is equally believable. This is toned-down and touching drama, not melodrama, and, along the way, we're treated to enough moments of levity to keep The Cry of the Heart from becoming needlessly somber. 　　Often, simple movies are the most stirring and emotionally-satisfying. Such is the case with The Cry of the Heart. It's an impressive motion picture because it touches on so many issues without appearing to do much at all. It can be enjoyed on many levels, from the deeply symbolic to the strictly realistic. However, regardless of what else an individual gleans from this film, the story of a family struggling to connect and communicate is likely to strike a responsive chord.

Alessio, a young man from a well to do family, has been mute since the death of his mother two years ago. His father, who has subsequently remarried, sends him to his sister-in-law's house in the country to recuperate. While staying there Alessio has erotic fantasies concerning his stepmother, his aunt and a young art restorer working on the estate, all of whom his father is sexually involved with.

Synopsis 　　Do-seong (Yoo Min) is a child monk who lives at a small mountain temple with the head monk (Byeon Ki-jong), learning the teachings of Buddha. He becomes attached to a young widow (Choi Eun-hee) who comes to pray at the temple, and the childless widow entreats the head monk to let her raise Do-seong as her own son. Conflict ensues when Do-seong's real mother (Kim Seon-young) appears, but she leaves the temple for the sake of her son's future. On the day the widow is to take the child down from the mountain, the head monk discovers that Do-seong has killed a bird by ensnaringit in a trap and decides not to let the boy go into the secular world. When Do-seong finds out that his real mother has been to the temple, he sets out to find her. 　　Notes 　　"A film that has garnered recognition for its cinematography and direction by eliminating sentimentality and unaffectedly capturing the quiet life of a mountain temple. A Hometown in Heart demonstrates the camera technique and directorial skill of movies that appeared after the liberation of Korea." 　　A Hometown in Heart, adapted from playwright Ham Se-deok's A Little Monk (Dong-seung), was hailed upon its release as "a masterpiece that marked a new pinnacle in Korean moviemaking after the liberation." Eschewing new-school sentimentality to quietly express a boy's longing for maternal love, the film unfolds the everyday lives of three generationsthe head monk, a young monk, and a little child monkagainst the backdrop of a quiet temple in the mountains. The long shots utilized by director of cinematography Han Hyung-mo to capture the beautiful scenery of the mountain temple from a distance received great critical acclaim at the time. Also, each of the film's characters is convincingly portrayed through the skillful direction of Yoon Yong-kyu. In particular, the scene which expresses Do-seong's desperate yearning for a mother's love and his birth mother's past visit to the temple by combining them into a dream sequence reveals deep consideration for articulating story and emotion via a compressed visual grammar without tending toward sentimentalism. The movie's final scene, in which Do-seong awakens from his dream and sets off down the path in search of his mother, is both touching and beautiful. The film also features Choi Eun-hee, in the part of the young widow who warmly embraces Do-seong with her love, in one of her first roles. 　　Afterword: 　　- Lee Kang-su, writing under the pseudonym of Kwak Il-byeong, first adapted playwright Ham Se-deok's A Little Monk (Dong-seung) into a screenplay, which was then shot for the silver screen with additional embellishments by the director.

A struggling country singer meets a Nashville songwriter in need of inspiration. Teaming up to write a song, their work gets complicated but results in both a hit song...and true love.