1980年，被养父母虐待的何清欢与瘫痪奶奶相依为命。一次上山捡柴，她救下身中媚药的特工霍战霆，两人意外结合。霍战霆认出她是幼时定亲的“小核桃”，但因任务离开，托付奶奶照顾她。渴望独立的何清欢拒绝婚事，选择工作介绍信，却发现自己怀孕。为保护孩子，她隐瞒孕肚，却被养父母发现并企图卖掉她。危急时刻，霍战霆归来救下她，公开其霍太太身份。在霍家，她逐渐被他的温柔打动，完成学业并找回亲生父母。最终，她在毕业典礼上

上辈子混子周辰拖累家人、辜负恩人苏桃桃，重生 1980 年遇刚嫁入家的苏桃桃。这一次，他誓改命运：痛改前非学手艺、护家人周全，与苏桃桃相濡以沫，对抗前夫阴谋，在年代浪潮中逆袭崛起，弥补前世遗憾，书写暖愈救赎人生。

爱在八零年代：大龄丧偶女人宋海莲，独自承担着家庭的重任。为了养活婆婆李唤娣和啃老的儿子刘轩，她每天不辞辛劳地打三份工。一天，在工地下班时，宋海莲阴差阳错地给正在寻找老伴的滨江集团董事长赵国强留下了深刻印象。然而，宋海莲的生活并未因此迎来转机。婆婆李唤娣为了给孙子刘轩娶王麻子的女儿，竟和刘轩一起自作主张，要将宋海莲嫁给品行低劣的王麻子。宋海莲坚决不从，却遭到李唤娣、刘轩和王麻子三人的百般羞辱。她孤立无援，内心充满了痛苦与绝望。就在这时，赵国强及时赶到，他挺身而出，凭借自己的威严和智慧，帮宋海莲化解了这场危机。宋海莲感激不已，而她与赵国强之间的故事，也由此拉开了新的篇章，未来等待她的...

前世陆昭妍嫁给穷小子邝岳却意外成为了富太太，而嫁给军官凌岳的妹妹陆沁柠，却因为新婚后，凌岳的意外身亡而疯癫。在陆沁柠害死陆昭妍，又被她反杀，双双重生后，陆沁柠选择抢走邝岳，却不知道，同样重生的陆昭妍，阻止了凌岳的死亡，过得更好……

前世陆昭妍嫁给穷小子邝岳却意外成为了富太太，而嫁给军官凌岳的妹妹陆沁柠，却因为新婚后，凌岳的意外身亡而疯癫。在陆沁柠害死陆昭妍，又被她反杀，双双重生后，陆沁柠选择抢走邝岳，却不知道，同样重生的陆昭妍，阻止了凌岳的死亡，过得更好……

希腊CULT导演Nikos Nikolaidis的最后一部作品！ 　　1.a metaphorical translation of nowadays truths 　　First, I must say that this is not a typical Hollywood spoon feeding or mainstream product. The Zero Years is a controversial, extreme, unusual, outrageous, mysterious, absurd, daring, exotic, erotic and political film which belongs to a trilogy the director has named "The Shape of the Coming Nightmare". 　　I had the pleasure of discovering this gem at the Chicago International Film Festival. It challenged many of the viewers at the screening but the presence of it's lead actress Vicky Harris (she's American ?!!) fortunately clarified many of the questions that arose during an extended question/answer session after the screening. 　　The correct interpretation of the directors messages seemed dependent of the previous films of the trilogy and even more so, as Harris explained, each one of his films is only a piece of the greater canvas of this directors work. Unfortunately, only one of his previous films has been released in the United States. The rest can be found on DVD, but without subtitles. 　　Yes, the audience had mixed reactions because this IS a provocative film. These types of films are not created to be loved or hated and the director obviously was not aiming for some specific reaction. He was just pouring out his very personal beliefs without caring about opinion. Opinions are boring and we have so much of it in our world, which, by the way, is full of critics. What one thinks of a movie is irrelevant! The question should be: Did it reach your subconscious or not. Did it make you think? and these questions by the way, cannot really be answered at the time you see a film like this because there is no way you can have a concept about what it has done to you yet. If you let this film affect you - you will find it will go into your deepest-darkest part, as it did ours, and THAT is the beauty of this film. 　　It features four lead females. Four a-typical characters who's ensemble acting is so intense that you cannot resist entering "their world" which is one of: off-beat dialog, original yet ambiguous story lines, surprising plot resolutions and brave themes of sexual and political nature. And although these types of movies are usually not performance based, most of the performances in this movie will rock your mind. Harris has a film presence that is almost hypnotic. Her performance is uniquely balanced between intellectual choices and truthful emotions. She effortlessly touches you through and through (and her presence at the festival was a double verification of her talent, as one could see that in real life, she bore no resemblance to her character). Kitseli as "the leader" is fantastic! and moments coming from Maro were strong too. Christina completes the group yet seems a bit theatrical at times. As an ensemble they are all fabulous! 　　Four sterilized women working in a State-run brothel, after the decline of the "new World Order" (which the director believes is NOT in the future-it is NOW). We all see the connection yet some called it a violent film. Well, violence is a part in every mans-every day life, and on many levels. Yet no matter what we say, the movie screen is at it's bloody est when we are talking about violation of the mind and soul. Such is the case of these characters. Living in a society of repression ("They tore out our wombs and implanted fear")... "Sterilized by the State"... 　　This film is just a strong metaphorical translation of everyday truths. Yet, not for everyone to accept. 　　2.Four women, barren, under surveillance and continuous toxic control, are serving their term in a government run brothel 　　Beyond his narrative genius N.N.'s evolution turns his creations into significant (and) extra-film events. This is particularly evident in "THE ZERO YEARS" – Beyond the obvious and the implied (global dictatorship, etc.) there is a discreet and penetrating psychological analysis and observation. As we know at the end of "THE ZERO YEARS" we clearly perceive that because of the deadlock and the lack of solutions its heroines choose hell over the free open world which (however) has been invalidated. It is both a conscious and an automated choice. The women are overcome by "institutionalism". Hell is fine because we know it and it is better than a supposedly free world, which, in any event, is wholly controlled and totally not free. "I love my bonds and my torment; they are better than the unknown horror of the outside." The "noir spoke" to us many times about impassioned heroes and their bonds, characters who are terrified of the free open fields. N.N. goes beyond this film-noir convention and reaches further to approach existential philosophy (particularly that of Camus). A micro-prison inside an enormous one. Whatever we choose we are trapped and what we demand is not to get OUT but to free everything, to tear down all the barbed wire. "THE ZERO YEARS" is a chronology of the end of civilization and of urban institutions. Everything is illusion; everything is utopia and a trap. ALEXIS DERMETZOGLOU

希腊CULT导演Nikos Nikolaidis的最后一部作品！ 　　1.a metaphorical translation of nowadays truths 　　First, I must say that this is not a typical Hollywood spoon feeding or mainstream product. The Zero Years is a controversial, extreme, unusual, outrageous, mysterious, absurd, daring, exotic, erotic and political film which belongs to a trilogy the director has named "The Shape of the Coming Nightmare". 　　I had the pleasure of discovering this gem at the Chicago International Film Festival. It challenged many of the viewers at the screening but the presence of it's lead actress Vicky Harris (she's American ?!!) fortunately clarified many of the questions that arose during an extended question/answer session after the screening. 　　The correct interpretation of the directors messages seemed dependent of the previous films of the trilogy and even more so, as Harris explained, each one of his films is only a piece of the greater canvas of this directors work. Unfortunately, only one of his previous films has been released in the United States. The rest can be found on DVD, but without subtitles. 　　Yes, the audience had mixed reactions because this IS a provocative film. These types of films are not created to be loved or hated and the director obviously was not aiming for some specific reaction. He was just pouring out his very personal beliefs without caring about opinion. Opinions are boring and we have so much of it in our world, which, by the way, is full of critics. What one thinks of a movie is irrelevant! The question should be: Did it reach your subconscious or not. Did it make you think? and these questions by the way, cannot really be answered at the time you see a film like this because there is no way you can have a concept about what it has done to you yet. If you let this film affect you - you will find it will go into your deepest-darkest part, as it did ours, and THAT is the beauty of this film. 　　It features four lead females. Four a-typical characters who's ensemble acting is so intense that you cannot resist entering "their world" which is one of: off-beat dialog, original yet ambiguous story lines, surprising plot resolutions and brave themes of sexual and political nature. And although these types of movies are usually not performance based, most of the performances in this movie will rock your mind. Harris has a film presence that is almost hypnotic. Her performance is uniquely balanced between intellectual choices and truthful emotions. She effortlessly touches you through and through (and her presence at the festival was a double verification of her talent, as one could see that in real life, she bore no resemblance to her character). Kitseli as "the leader" is fantastic! and moments coming from Maro were strong too. Christina completes the group yet seems a bit theatrical at times. As an ensemble they are all fabulous! 　　Four sterilized women working in a State-run brothel, after the decline of the "new World Order" (which the director believes is NOT in the future-it is NOW). We all see the connection yet some called it a violent film. Well, violence is a part in every mans-every day life, and on many levels. Yet no matter what we say, the movie screen is at it's bloody est when we are talking about violation of the mind and soul. Such is the case of these characters. Living in a society of repression ("They tore out our wombs and implanted fear")... "Sterilized by the State"... 　　This film is just a strong metaphorical translation of everyday truths. Yet, not for everyone to accept. 　　2.Four women, barren, under surveillance and continuous toxic control, are serving their term in a government run brothel 　　Beyond his narrative genius N.N.'s evolution turns his creations into significant (and) extra-film events. This is particularly evident in "THE ZERO YEARS" – Beyond the obvious and the implied (global dictatorship, etc.) there is a discreet and penetrating psychological analysis and observation. As we know at the end of "THE ZERO YEARS" we clearly perceive that because of the deadlock and the lack of solutions its heroines choose hell over the free open world which (however) has been invalidated. It is both a conscious and an automated choice. The women are overcome by "institutionalism". Hell is fine because we know it and it is better than a supposedly free world, which, in any event, is wholly controlled and totally not free. "I love my bonds and my torment; they are better than the unknown horror of the outside." The "noir spoke" to us many times about impassioned heroes and their bonds, characters who are terrified of the free open fields. N.N. goes beyond this film-noir convention and reaches further to approach existential philosophy (particularly that of Camus). A micro-prison inside an enormous one. Whatever we choose we are trapped and what we demand is not to get OUT but to free everything, to tear down all the barbed wire. "THE ZERO YEARS" is a chronology of the end of civilization and of urban institutions. Everything is illusion; everything is utopia and a trap. ALEXIS DERMETZOGLOU

勤勤恳恳的老实人李茂意外重生，回到 1983 年自己参加高考的关键年份。一心想改变家庭生活的他，敏锐抓住沿海与内陆的信息差，将贩卖本地咸鱼视作赚取第一桶金的绝佳机会。为推进计划，他主动向班花杨小翠求助，希望能借到一辆车前往省城。

当代知名女音乐家叶宁，一场突如其来的车祸让她的人生轨迹彻底改写 —— 再次睁眼，她竟穿越到了八十年代，成了远近闻名的 “泼妇” 林翠花。更让她措手不及的是，原主还有个身份体面的丈夫 —— 身姿挺拔、面容俊朗的部队连长顾廷州。顶着 “泼妇” 的烂名声，叶宁凭借现代的见识与音乐天赋，在这个物质匮乏的年代寻出路：从摆摊做小生意起步，慢慢摸索着搞事业，一步步改写贫困境遇。而面对那个起初对 “自己” 满是疏离与误解的帅气连长，叶宁也在日常相处中，用全新的灵魂渐渐融化对方的心，两人从隔阂走向相知，在烟火气里酿出一段别样的年代爱情。

勤勤恳恳的老实人李茂意外重生，回到 1983 年自己参加高考的关键年份。一心想改变家庭生活的他，敏锐抓住沿海与内陆的信息差，将贩卖本地咸鱼视作赚取第一桶金的绝佳机会。为推进计划，他主动向班花杨小翠求助，希望能借到一辆车前往省城。