为给母亲治病，乔小乙说谎骗钱，代理慈善机构招募善款时骗了霍东。霍东追债，乔小乙被迫分期还款，还误会霍东与机构合伙骗她。此后，乔小乙赚钱时多次与霍东产生冲突。一次偶然，乔小乙帮霍东搅黄相亲，被霍东高薪聘请解决相亲麻烦。二人各怀鬼胎合作，过程中霍东为乔小乙洗清冤屈，乔小乙逐渐喜欢上他。这时，姚贝贝等人介入，引发一系列情感纠葛。后来安娜回国逼走乔小乙，好在最终两人突破重重阻碍，走到了一起。

网红小美本是按公司要求走流量路线的博主，却接连撞见虐猫、食品安全造假、非法捐卵、缅北诈骗、职场性别歧视等诸多阴暗事。起初她曾因老板威胁、利益捆绑有所犹豫，但在受害者的无助、旁观者的觉醒和内心良知的驱使下，她一次次选择挺身而出。从联合同事曝光伪善网红，到套路黑心商家、揭露非法捐卵黑幕，再到助力被拐女孩、反抗职场物化女性，小美用行动凝聚起更多人的力量，打破沉默与偏见。

网红小美本是按公司要求走流量路线的博主，却接连撞见虐猫、食品安全造假、非法捐卵、缅北诈骗、职场性别歧视等诸多阴暗事。起初她曾因老板威胁、利益捆绑有所犹豫，但在受害者的无助、旁观者的觉醒和内心良知的驱使下，她一次次选择挺身而出。

In English, “trespass” means to intrude, but it could also be an unauthorized entry, or in legal jargon, a “domestic disturbance.” trespass, Paul Wenninger’s ten-minute real-animation film plays with all of these meanings in a technically impressive, varied, and precise tour de force. A consistent element throughout is a type of avatar of the director, a character created from real images, whom the film sends on a world journey, of sorts, within his own four walls. The penetration of the outside world is both abrupt and varied: whereas the strange, inert main figure with his jerky movements initially seems isolated in the bare dungeon of a green-painted cell, all at once, windows are inserted in this monad—to use the terminology of the philosopher Leibniz. A wild process of transgression can now begin. Not only does an excess of “world” suddenly appear in the cell windows, but the entire background, from which the character is set-off, is filled with profuse images of the most distant scenes in Eritrea, Brussels, Helsinki, Vienna, and France. The “backdrops” change and tumble into one another, as though by mouse click, which hardly affords the thoroughly stationary protagonist a hold. Although he maneuvers through and deals with a seemingly endless assortment of everyday objects, he still remains imprisoned in a cell-like existence. In the end, he must attend his own death and the slow draining of his blood—paint that mutates to blood and then back to paint again. The “intrusion” from outside is thus subjected to a paradoxical twist: it is not the world, another life, a foreign power that can suddenly be felt in the here and now, but instead, despite all of its animation and dynamics, the character’s own vitality is increasingly “divested” as the film progresses. trespass hereby brings to bear a clever, visually enchanting subject-object reversal—moving beyond, even moving beyond oneself, which for the longest time, one seems to perceives as an invasion from the outside. (Christian Höller)

一群中国留学生穿梭于波士顿的各个地方，游走在市中心与郊区之间。我们不知道他们的具体关系，只知道他们生活的局部，和他们身处的地方。我们看见他们在街道上漫游，或在原地思考些什么。一场偶遇，聚会，别离仿佛即将发生在他们身上，但又因为他们的出画而戛然而止。尽管生活慢慢步入正轨，但仍有一种暗流隐藏在凝滞的日常碎片之中。

陆远身怀顶尖机械维修绝技，为心爱之人苏茶，甘愿放弃转正名额与住房，以临时工身份默默付出。他凭手艺修好全厂束手无策的发动机，即将迎来转正机会，满心欢喜筹备婚事。不料登门时，却撞见苏茶与厂长之子相处亲密，自己还被对方与苏茶母亲轻视鄙夷，满腔真心遭遇冷遇，满心欢喜瞬间化为心寒。

该剧讲述了鬼马少女慕晓如“偶然”闯入来自平行世界的高冷教授晏随的神秘空间，并由此引发出一场颠覆了乱世、古代、平行都市的浪漫逆袭之旅。

哈里，一个迷人的偷房贼，在一次未遂的入室行窃中，当他偶然发现黛西并决定把她从她自己手中救出来时，得到的东西比他讨价还价还多，于是他们两个人进入了一个黑暗的喜剧式的自我发现和爱之旅。

百年前，碧蓝星爆发原力病毒灾变。病毒永久笼罩全球。这是一个病毒常态化、异能者与异变体共存的世界。都市烟火如常，危机暗藏其中。十八岁雷系少女闯荡异能行业，背后是那个“佛系废物”养父用十二年的隐忍与无敌战力，为她撑起整片天空。

王秀菊大学毕业不久，便遭人贩子诱骗，强行嫁给庄稼汉蒋大山，被逼着生儿子。后来她生下女儿，蒋大山想将孩子丢弃，王秀菊拼死护住了女儿。不久后，王秀菊撞破蒋大山出轨的丑事，被他虐待至痴傻。十六年后，女儿蒋小花长大成人。丧心病狂的蒋大山竟要将她卖给同村吴瞎子换钱，蒋小花誓死不从，被锁了起来。就在她绝望之际，痴傻的母亲冒死救她逃出。重获自由的蒋小花下定决心，要靠自己的力量，带母亲彻底逃离这个满是痛苦的牢笼。