三十而立的男人，一次出差回到父母家后，居然决定拋妻弃子赖著不走！ 　　三十而立的米奇（Matt Boren饰）来到纽约出差到父母家的阁楼借住，没想到一夜过后，米奇居然再也不想返家，他偷偷搬回自己儿时的房间，用尽所有藉口不愿回到妻女身旁，对於童年时光自由自在缅怀不已的他，还找上了童年好友聚首！ 　　一开始米奇的父母还搞不清楚怎么回事，当他们发现米奇怪异举动背后逃避现实的真相，便共商大计使出各种大绝招要将他赶走，米奇是否能永远赖在父母身边？

米莫已经是42岁的中年人了，但他的智力仅停滞在十岁左右，他还在上小学，和同学们和睦相处，他们一起玩耍、调皮。米莫生活在无忧无虑之中，他对父母总是说自己要长大，但他总也长不大，这令父母非常担忧，四处为米莫寻找治疗的方法。这天，父母带着米莫找到了心理学教授，教授对米莫进行了测试，得出的结论是米莫患的是“彼得•潘综合症”，要想治好这种病只有让米莫受到一次情感上的打击。为了让米莫能过上正常人的生活能够独立，能够成家立业，父母下决心离开米莫……几年后，米莫已成为三个孩子的父亲了，但是他还是和孩子一样与自己的孩子们踢足球，滚的一身泥水，追着克劳迪亚嬉戏。

五位青年好友同寄一处屋檐下，努力过好自己的生活。尽管早已跨入20岁的门槛，五个人面对纷繁的社会似乎却依旧没能长大，行事跌跌撞撞、疯疯癫癫、笑料百出。在成年人的混乱世界里，孩子一样的他们是否能处理好自己的友谊、爱情和面包呢？

14岁的安东尼奥和父亲一起生活，突然某天父亲没回家，也不回复他的信息和电话。安东尼奥从邻居那里得知父亲因摩托车事故住院了，自此他只能独自应对生活，除了学习功课、喂饱自己，他还要花钱修车……好不容易熬到父亲出院的日子，安东尼奥发现父亲竟去了警察局，原来车祸另有隐情…… 　　阿根廷导演马里亚诺·冈萨雷斯在这部最新作品中舍弃强烈的戏剧冲突，塑造了一个以超出年龄的沉稳应对困难的少年。影片如纪录片般呈现了少年成长路上的每一个挑战，用四两拨千斤的方式道出了导演心目中的成长真谛：所谓成长，不仅是具备照顾自己的能力，更重要的是拥有直面真相的勇气。

14岁的安东尼奥和父亲一起生活，突然某天父亲没回家，也不回复他的信息和电话。安东尼奥从邻居那里得知父亲因摩托车事故住院了，自此他只能独自应对生活，除了学习功课、喂饱自己，他还要花钱修车……好不容易熬到父亲出院的日子，安东尼奥发现父亲竟去了警察局，原来车祸另有隐情…… 　　阿根廷导演马里亚诺·冈萨雷斯在这部最新作品中舍弃强烈的戏剧冲突，塑造了一个以超出年龄的沉稳应对困难的少年。影片如纪录片般呈现了少年成长路上的每一个挑战，用四两拨千斤的方式道出了导演心目中的成长真谛：所谓成长，不仅是具备照顾自己的能力，更重要的是拥有直面真相的勇气。

Snowflakes is a twenty-something ensemble comedy following a group of codependent housemates trying to be good people, despite being neither “good” nor “people” yet.

This is a film based on the life of the Wolfenden family and some charachters in the city of Reading, England. Wolfenden whoose son, Jeremy, professess to being Queer, is asked to chair a Home Office committee to look at the laws on Prostitution and Homosexuality. The story follows at least three story arcs. ONE. Wolfenden starting up the committee and dealing with the people who are interviewed, then coming to a decision about the laws surrounding prostitution and homosexuality. TWO.Jeremy Wolfenden's life as a young homosexual man in 1950s Britain. His arrival and sucess at Oxford, his stresses as a 'queer' man and the debates between him and his Father. THREELabourer, Charlie Bollard's relationship with '23 men' and particularly with Parker the baker with whom he becomes obsessed. Bollard is arrested and charged with 'offences' and sees his former partners sentenced to 'an average of 3 and a half years in goal'. The intertwining stories tell the story of the what it was like to be homosexual in 1950s England.

老人没有子女的夫妇采用孤儿院女孩汤妮雅。托尼直接孤儿院，缺乏了解，事情可能并不常见，但一个人，她的信任关系，和过度的自我干涉她找到一个与父母新出现的相互了解。

A brief trip back home turns into a longer stay when Eric finds himself caught between catching up with his two sisters and conquering his old poker group. The more Eric extends his visit to prove that he is still the best poker player in town, the harder it becomes to steer clear of the old fault lines in his relationship with his sister Rachel. As their little sister Maggie attempts to recreate the intimate world they once shared, Eric and Rachel are faced with the divide between their childhood selves and the adults they have now become. 　　Displaying all the sensitivity and wicked humour of his previous works, Dustin Guy Defa’s new film is a shrewd study of the pitiless condition known as adulthood. After growing up in a family unit that constitutes your whole world, with its particular set of habits and a shared language, crossing the border into the realm of adults can feel disempowering, even terrifying. A sense of loss may be difficult to ever really overcome. The film’s meticulous structure and novelistic depth lay bare this fundamental fear, but also the resources that exist to fight it. Setting about this treasure hunt deep within as individuals and as a family is an admirable trio of actors whose interpretation is as nuanced as it is poignant.

A brief trip back home turns into a longer stay when Eric finds himself caught between catching up with his two sisters and conquering his old poker group. The more Eric extends his visit to prove that he is still the best poker player in town, the harder it becomes to steer clear of the old fault lines in his relationship with his sister Rachel. As their little sister Maggie attempts to recreate the intimate world they once shared, Eric and Rachel are faced with the divide between their childhood selves and the adults they have now become. 　　Displaying all the sensitivity and wicked humour of his previous works, Dustin Guy Defa’s new film is a shrewd study of the pitiless condition known as adulthood. After growing up in a family unit that constitutes your whole world, with its particular set of habits and a shared language, crossing the border into the realm of adults can feel disempowering, even terrifying. A sense of loss may be difficult to ever really overcome. The film’s meticulous structure and novelistic depth lay bare this fundamental fear, but also the resources that exist to fight it. Setting about this treasure hunt deep within as individuals and as a family is an admirable trio of actors whose interpretation is as nuanced as it is poignant.