该片以哈萨克族即兴弹唱表演的原生态文化形式“阿依特斯”和草原生活为叙事背景，讲述了一个饱含浓郁哈萨克族气息的唯美故事，着力塑造了一位性格坚毅、善良聪慧的女歌手“鲜花”的生活、情感、奋斗经历。影片同时向观众呈现出新疆的壮美山川、绚丽草原和冰雪世界等多彩景观。影片得到很多观众的喜爱。大家认为，音乐和画面传神地表现了哈萨克族传统的文化生活，使观众深刻体会到哈萨克族人民对生活的热爱。 　　影片用哈萨克族最喜爱、内容最丰富、群众影响力最大的传统民间口述文学形式——阿依特斯艺术，表现哈萨克族牧区的生活故事，其中13段的精彩演唱使阿依特斯艺术贯穿全剧始终。

该片以哈萨克族即兴弹唱表演的原生态文化形式“阿依特斯”和草原生活为叙事背景，讲述了一个饱含浓郁哈萨克族气息的唯美故事，着力塑造了一位性格坚毅、善良聪慧的女歌手“鲜花”的生活、情感、奋斗经历。影片同时向观众呈现出新疆的壮美山川、绚丽草原和冰雪世界等多彩景观。影片得到很多观众的喜爱。大家认为，音乐和画面传神地表现了哈萨克族传统的文化生活，使观众深刻体会到哈萨克族人民对生活的热爱。 　　影片用哈萨克族最喜爱、内容最丰富、群众影响力最大的传统民间口述文学形式——阿依特斯艺术，表现哈萨克族牧区的生活故事，其中13段的精彩演唱使阿依特斯艺术贯穿全剧始终。

比安卡（梅·惠特曼 Mae Whitman 饰）是一个平凡的高中女生。在学校里，比安卡属于“其貌不扬”的那一类，对于这一点，她自己心里也很清楚。不过，比安卡的个性大大咧咧活泼开朗，身边聚集了麦迪森（贝拉·索恩 Bella Thorne 饰）、杰西卡（斯凯勒·塞缪尔斯 Skyler Samuels 饰）等一批笑话级的美女朋友们，这让比安卡的心里感到一丝安慰和自豪。 　　然而，让比安卡没有想到的是，这些美女们愿意和她待在一起的原因，仅仅是因为和她站在一起能够衬得她们更加的娇艳欲滴，和友情并无关系，得知了这一真相，比安卡崩溃了。比安卡找到了在校园里拥有高超人气的帅哥卫斯理（罗比·阿梅尔 Robbie Amell 饰），希望他能帮助自己改头换面。

Anawin（ Mario饰）是个从小就被宠坏了的富有帅气的男人。他为人傲慢、生性鲁莽，直到在他遇到了Pudchompoo（ Toey饰）后，因为爱上她而慢慢变成一个好男人。Pudchompoo在她的父亲过世后成为了独立坚强的人，她与Anawin因为在同一间花卉农场工作而相识，关系也由最开始的互相看不顺眼对方发展到最后成为彼此相爱的恋人。

Anawin是个从小就被宠坏了的富有帅气的男人。他为人傲慢、生性鲁莽，直到在他遇到了Pudchompoo后，因为爱上她而慢慢变成一个好男人。 Pudchompoo在她的父亲过世以后成为了独立坚强的人。她与Anawin因为在同一间花卉农场工作而相识，关系也由最开始的互相看不顺眼对方发展到最后成为彼此相爱的恋人。 Mario所饰演的Anawin会随着剧情以及角色的发展，从最初非常坏的男人到最后变成好男人。这与他以往所饰演的电影以及电视剧里面的角色都非常不一样。

出生在一个被黑手党控制的小城里，一名愤怒的年轻女子决意向拆散和囚禁她家人的邪恶力量复仇。

钟灿（金柱赫 饰）和妻子妍红（孙艺珍 饰）结婚多年，膝下有一可爱的女儿，两人男才女貌，在外人眼中是如同神仙眷侣一般的存在。钟灿涉足政坛，事业小有成就，同僚们都知道，他将有极大的可能成为下一任的国会议员。 　　某一日，厄运降临到了这个幸福的家庭之中，女儿无故失踪下落不明，留下难以解释的模糊线索，令警方毫无头绪。让妍红感到不可思议的是，对于女儿的失踪，钟灿似乎并没有那么焦急，他脑中所想的，只有如何在下一场竞选中取得胜利，夫妻两人之间的感情因此而产生裂痕。无奈之下，妍红只得强打起精神，她知道，女儿所能依靠的只有自己。

一名受人尊敬的主播（高庚杓 饰）突然在播报时失去自我约束力，此举吸引了一名电视台编剧（姜汉娜 饰）的注意，并邀请他上自己的综艺节目。

The subtitle of Jean-Marie Straub and Danièle Huillet’s first feature, from 1965, “Only Violence Helps Where Violence Reigns,” suggests the fierce political program evoked by their rigorous aesthetic. The pretext of the film, set in Cologne, is Heinrich Böll’s novel “Billiards at Half Past Nine,” which they strip down to a handful of stark events and film with a confrontational angularity akin to Bartók’s music that adorns the soundtrack. The subtlest of cues accompany the story’s complex flashbacks. The middle-aged Robert Fähmel tells a young hotel bellhop of persecutions under the Third Reich; his elderly father, Heinrich, an architect famed for a local abbey, recalls the militarism of the First World War, when his wife, Johanna, incurred trouble for insulting the Kaiser. A third-generation Fähmel is considering architecture, just as the exiled brother of Robert’s late wife, returns, only to be met by their former torturer, now a West German official taking part in a celebratory parade of war veterans. Straub and Huillet make the layers of history live in the present tense, which they judge severely. The tamped-down acting and the spare, tense visual rhetoric suggest a state of moral crisis as well as the response—as much in style as in substance—that it demands.

The subtitle of Jean-Marie Straub and Danièle Huillet’s first feature, from 1965, “Only Violence Helps Where Violence Reigns,” suggests the fierce political program evoked by their rigorous aesthetic. The pretext of the film, set in Cologne, is Heinrich Böll’s novel “Billiards at Half Past Nine,” which they strip down to a handful of stark events and film with a confrontational angularity akin to Bartók’s music that adorns the soundtrack. The subtlest of cues accompany the story’s complex flashbacks. The middle-aged Robert Fähmel tells a young hotel bellhop of persecutions under the Third Reich; his elderly father, Heinrich, an architect famed for a local abbey, recalls the militarism of the First World War, when his wife, Johanna, incurred trouble for insulting the Kaiser. A third-generation Fähmel is considering architecture, just as the exiled brother of Robert’s late wife, returns, only to be met by their former torturer, now a West German official taking part in a celebratory parade of war veterans. Straub and Huillet make the layers of history live in the present tense, which they judge severely. The tamped-down acting and the spare, tense visual rhetoric suggest a state of moral crisis as well as the response—as much in style as in substance—that it demands.