英俊儒雅的金文，经过十年苦斗，已在商场上崭露头角，成为本地赫赫有名的房地产巨头。然而在他的内心深处，至今却不能忘怀大学时代的恋人丁碧琼。命运的阴差阳错，使丁碧琼嫁给了一直在追求她的秦汉阳。一次同学会上，金文和丁碧琼相遇，两人都感慨万千，内心生发出一丝忧伤的情愫…… 　　而后发生的一件件事及其时代大潮 的波及和来自人物心灵深处的阵痛，打破了丁碧琼和秦汉阳平静的家庭生活，一声轩然大波扑面而来。

英俊儒雅的金文，经过十年苦斗，已在商场上崭露头角，成为本地赫赫有名的房地产巨头。然而在他的内心深处，至今却不能忘怀大学时代的恋人丁碧琼。命运的阴差阳错，使丁碧琼嫁给了一直在追求她的秦汉阳。一次同学会上，金文和丁碧琼相遇，两人都感慨万千，内心生发出一丝忧伤的情愫…… 　　而后发生的一件件事及其时代大潮 的波及和来自人物心灵深处的阵痛，打破了丁碧琼和秦汉阳平静的家庭生活，一声轩然大波扑面而来。

江语桑上大学的时候，爱上了宋司彦，两人爱的轰轰烈烈。只不过后来不知道什么原因分手了。 　　五年以后，为了挽救江家，江语桑跟宋司彦签订一个不平等条约。“女方提离婚违约金20亿。”“一周履行夫妻义务20次。” 　　江语桑一怒之下跑到酒吧，点了一屋子男模。 　　她从人群里选出一个长的最帅的，醉意熏熏道，“我要用我老公的钱养你。”听到这句话，男人咬牙切齿道，“江语桑，用我的钱找男模，当我是死人吗?!” 　　.... 　　从看到江语桑的第一眼，宋司彦就认定这个女孩是他的，他布下天罗地网，只为揽女孩入怀。终于他得偿所愿。

老周（周达）是株潭市老城区（东城）的副所长，还有两年就要退休了，有人在辖区荒废的取水井里，发现了一具裸身男性死尸，警方展开拉网式调查，挨家挨户询问关于死者的线索。经过一周时间，全市排查后没有一个和死者相符。根据现场发现的斧头的调查他们把案发时间压缩到了4-7个月之内，同时也将案发时间内的调查重点转作疑犯且将范围扩大到失联或疑似失联人口后，本地烟花厂老板王源便渐渐浮出水面。王源在3月份的时候开始失联，此外在3月之前的一段时间，他同两个外地电话通讯频繁。他还有一个情妇叫张萍，而张萍的丈夫是开殡葬店的张强。王源和张萍的情人关系已经有几年时间了，他合谋张萍做内应，从外地请来两个“五星杀手”来杀掉张强。张强在躲过杀手兄弟的几次低级手段暗杀之后，他开始有计划地反击。2017年3月9日小雨有雾，他把王源带到了殡葬店，并将其打死，而后伪造死亡证明将其火化。警方历时两年最终水落石出，罪犯全部落网，绳之以法。

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.