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...

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。

根据80 年代真实社会实案改编 。Dorothy Stratten (February 28, 1960 – August 14, 1980)

保镖出身的他意外牺牲，再次睁眼竟穿成八零年代的胖妞！躺在床上看着镜中又胖又土的模样，还有一贫如洗的家、等着被安排的婚事，当场决定逆袭翻盘！ 前世的格斗技巧、应急智慧，在种田持家、人际交往中派上大用场：她靠精准预判避开农忙陷阱，用巧劲解决邻里纠纷，更凭着超前眼光搞养殖、做手工，带着家人一步步摆脱贫困。 从被村人嘲笑 “肥婆”，到靠实力赢得尊重；从被迫接受包办婚姻，到活出自己的精彩人生。剧情接地气又充满爽感，没有狗血撕扯，只有踏实肯干的成长、邻里和睦的温情，以及八零年代独有的时代氛围。 看曾是硬汉，如何以胖妞之身扎根乡土，用智慧与汗水打拼致富路，活成八零年代最亮眼的逆袭标杆，越看越上头！

二十世纪九十年代是一个特别的时代，是一个久违的和平时代，是一个承上启下的时代，九十年代这十年间，地球慢慢变成了地球村，世界都在飞速发展，而成为全球超级大国的美国，在这十年间，无论是政治、文学，还是科技与娱乐都经历了巨大的转变。这十年间，美国出现了那些影视作品，文学家们如何批判现实，信息如何开始爆炸，甚至是经历了怎样的恐怖袭击，人们的态度思想经历了哪些改变，一切尽在《九零年代》。

现代女大学生司念穿越回20世纪八零年代，遇到离异带两娃的养猪场老板周越深

本市著名舞蹈艺术家姜曼云，因车祸下肢瘫痪，无法再跳舞的她心如死灰，割腕自杀时意外穿越到八零年代厂子的“老赖”身上。此时，她的丈夫、车间主任李建国提出离婚，街坊认为他与文工部队长王丽更般配，王丽还上门炫耀，称自己将在一月后的春晚独舞压轴。重获机会的姜曼云，决心拿下八零年代舞王称号，便前往春晚排练现场，与王丽比拼舞蹈以争夺压轴位置。

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