女主在母亲亡故后，被生父男二与舅舅罗远洲狠心抛弃。首富男主见她眼神酷似故人，将其收为养女，男主家从此把她宠成掌上明珠。为护女主，男主怒怼恶房东、斥责冷漠生父。而拥有听见万物密语异能的女主，也用这份特殊能力帮养父揪出公司卧底，彼此守护着温暖生活。

讲述一名曾经是牙科保健员的孕妇提起诉讼，要求她领取她3星期没有得到的工资的故事。

故事讲述了刚刚大学毕业的林小丹（周显欣 饰）追求广告策划人梦想的奋斗过程。尽管她屡遭挫折，最终只能在一家知名广告公司做打扫卫生的内勤，但她并没有放弃。小丹在工作之余，用心创作了很多创意作品，希望能够引起创意总监程一度的注意。然而，一度对她的作品不屑一顾，给了她更多的挫折感。尽管工作和生活给予了她很多压力，小丹并没有气馁。她的坚持最终得到了回报，得到了一次展示创意的机会。在一度的帮助下，她的创意取得了巨大成功，甚至引起了公司老板王总的赏识。 　　与此同时，王总自己也陷入了情感困境，不愿对怀孕的情人阿芳负责。直率的一度为阿芳抱不平，却因此被辞退。王总最终决定起用小丹担任创意总监，这也是对一度的愧疚的一种弥补。在小丹担任创意总监一年后，她在乡村小学找到了做志愿者的一度。时间的流逝让他们成熟起来，学会了包容和谅解，并最终品尝到了爱情的甜蜜。

本片讲述了刚毕业的德国青年本（大卫·克劳斯 饰）前往柬埔寨金边旅游。柬埔寨独特的异国风情和繁华热闹的景象，很快就吸引了本。更让本着迷的是，他在夜店结识了美丽的柬埔寨少女Sreykeo（阿萍雅·萨库尔·加伦苏 饰）。Sreykeo和其他妓女一样靠招揽顾客为生，但这丝毫没有影响本对她的深情。然而命运捉弄了Sreykeo，她被查出患有艾滋病。这段突如其来的爱情，究竟会以悲剧告终，还是两人能相伴一生、白头偕老呢？ 本片根据真实事件改编，是一部在柬埔寨取景拍摄的德国爱情电影。本片将在第62届洛迦诺国际电影节的Piazza Grande单元进行首映。

本片讲述刚毕业的德国青年本（大卫·克劳斯 David Kross饰）来到柬埔寨金边旅游。柬埔寨的异国特色、灯红酒绿，很快让本倾心于此。而更让本迷恋的是，他在夜店邂逅了美丽的柬埔寨少女Sreykeo（阿萍雅·萨库尔·加伦苏 Apinya Sakuljaroensuk饰）。Sreykeo像所有妓女一样靠拉客赚钱，可这并没有丝毫影响到本对她的一往情深。但命运还是跟Sreykeo开了场玩笑，她被检查出艾滋病。这段措手不及的爱情，是否会以悲情收场，还是两人能够长相厮守、天长地久呢？

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.