讲述了72岁的花样青春__QUOTE__末顺__QUOTE__(罗文姬 饰) 与从未听说过的孙女__QUOTE__小公主__QUOTE__(金秀安 饰)出现后开始的令人不可思议的同居故事。
Won-sang虽然已大学毕业，但为了储钱只好出国进修，并到了一间出版社工作。出版社社长Yoon-shik已婚多年，仍经常拈花惹草，甚至向Won-sang的女友下手。 随着Won-sang与Yoon-shik接触日多，他对这名社长既尊敬又妒忌。后来Won-sang看上了报社中一名中年女摄影师Sung-yeon。Sung-yeon寂寞多年，亦视Won-sang为她在生命中重燃火花的希望。同时间，Won-sang因为工作需要须不时到Yoon-shik的家，却又搭上了Yoon-shik的妻子
虽然身为建筑工人的儿子，乔治荣格（约翰尼·德普 Johnny Depp 饰）却并不愿被低下的出身所束缚。怀着远大的理想，他来到了加利福尼亚追逐自己的梦想。很快，靠着贩卖大麻，荣格赚到了一笔不义之财，但也因此摊上了牢狱之灾。在狱中，荣格结识了他“同病相怜”的狱友，狱友将他介绍给了大毒枭艾斯科巴（克利夫·柯蒂斯 Cliff Curtis 饰）。 很快，荣格成为了全美毒品运输的重要枢纽，而靠着贩毒，荣格赚取了金钱不计其数，他终于过上了他曾经向往的那种纸醉金迷的生活。可是，在内心里，对于自己所干的勾当，荣格深深的感到耻辱，再多的金钱也填补不了那不被亲人理解和接纳的痛苦，而在最后的最后，他也终究逃不过恢恢的法网。
交往长达十年的三名女性：森本好子（柴崎幸 饰）、冈村麻子（真木阳子 饰）、林佐和子（寺岛忍 饰）时常相约外出野餐，享受纯洁友谊和快乐时光的她们，现实生活中有着各自的烦恼。好子供职于一家咖啡厅，心中有着心仪的男子，却无可奈何错过；某大型公司OL麻子虽然要强干练，可是内心厌烦了周遭的一切，渐渐感到疲惫不堪；身为网站设计师的佐和子与母亲和外婆相伴度日，即使渴望结婚，但并非没有后顾之忧。种种现实问题摆在眼前，让这三个身处大都会繁华中心的女子百感交集…… 本片根据益田米莉（益田ミリ）的人气四格漫画《小好（すーちゃん）》改编。
查理（乔尔·埃哲顿 Joel Edgerton 饰）早已经厌倦了家乡死气沉沉的氛围，决定带着同样野心勃勃的未婚妻尼古拉（杰米玛·卢珀 Jemima Rooper 饰）远走高飞，投身于外面五彩斑斓的花花世界。然而就在两人准备动身之时，传来了父亲的死讯。父亲留下了一间庞大的鞋厂，查理不得不接手经营管理。 直到此时，查理才知道，表面上运作正常的鞋厂，其实早已经负债累累不堪一击，不仅如此，查理还不得不辞退十五名一直以来为了鞋厂兢兢业业工作的老员工。一次偶然中，查理结识了名为劳拉（切瓦特·埃加福特 Chiwetel Ejiofor 饰）的变装皇后，并且在一群和他一样的女装爱好者们之中觅得了商机。
The life and career of the three sisters inimitable Fontana. Micol is only a seamstress Emilia with 500 pounds in his pocket when he arrives in Rome with John and Zoe. The effort is matched by the beginning of a passion for fashion, until the day when the world sees them. The event is the marriage of Tyrone Power and the wedding dress is packed by Atelier Fontana. In the 50 sets Americans have brought Hollywood on the banks of the Tiber and the Via Veneto, felt the __QUOTE__Dolce Vita__QUOTE__. When the great American divas call the Fontana sisters, that__APOS__s their dream come true. From Ava Gardner Rita Hayworth, Audrey Hepburn, Grace Kelly, the success was immediate and the suffering of the rewards of private grief. From a tailoring of the three sisters in the fashion district will bring the elegance of Italian style worldwide.
2年前，科幻小说家大卫·戈登（约翰·库萨克 John Cusack 饰）遭受了丧妻之痛，时间并未抚平他心中的伤口，反倒令其愈感空虚。为了排遣心中的孤独，大卫决定收养一个小孩，当然这个决定遭到周围亲友的质疑和反对。不顾他人的意见，大卫领养了名叫丹尼斯（鲍比·科尔曼 Bobby Coleman 饰）的小男孩。丹尼斯虽然清秀可爱，性格却非常古怪。他自称来自火星，终日躲在纸盒子里，不与其他小朋友玩耍，喜欢用没有胶卷的相机拍照。丹尼斯的到来为大卫的生活注入活力，也为他带来久违的爱情。而随着生活的继续，大卫却发现与火星男孩的相处实非易事…… 本片根据David Gerrold的获奖科幻短篇小说改编。
富家千金丁香，与出身低微的长工沈大桥相恋，但因身份悬殊被母亲拆散。为寻求真爱，丁香做了落跑新娘，离家出走去寻找恋人，当她历经艰辛与沈大桥重逢，但此时的他已是国家叛徒，在真爱与正义之间，她该如何诀择？ [2]富商之女丁香与长工的儿子沈大桥相爱，却遭丁母强烈反对，无奈沈大桥远走参军，丁香另许他人。新婚之日，她逃婚去寻找大桥。阴差阳错，丁香邂逅了地下党员方志良，并得知大桥已经牺牲。悲痛之余，丁香决定加入抗日队伍。 一次，在执行任务时，丁香发现伪政府的高官李振山酷似沈大桥，几经波折，丁香证实李振山就是沈大桥。看到昔日的恋人如今成为众人唾弃的叛徒，丁香于是好言劝导李振山回头是岸，但沈大桥不愿放弃日本人给予他的金钱和地位，丁香心寒绝望。 于是，曾经的恋人成为水火不容的对手。那么，丁香如何继续她的抗战道路？沈大桥将落得怎样的下场？
影片讲述了饱受家庭和社会催婚压力的恐婚族都市女白领28岁女主高鑫（张倩如饰），偶然遇到了与众不同的追求二次元梦想的零恋爱经验26岁男主陆嵘二（钟正饰）。在相处过程中，相互吸引，最终决定以不结婚为目的谈一场纯粹的恋爱。
住在印度乡村的少女发现自己热爱滑板，人生从此发生改变。为了追逐滑板竞赛梦，她将踏上一条挑战重重的道路。
故事设定在一个死后的奇异时空，所有自杀后的人都会被聚集到这里。在这个异次元的世界里，除了每个人都拥有神奇力量外，一切看似跟现实世界毫无分别。男主人公齐亚（派屈克·福吉特 Patrick Fugit饰）为情割腕自杀后，本以为能就此一了百了，却阴差阳错的坠入这个自杀者的天堂。在路上，齐亚先后遇见了因各种原因自杀的路人，后与另外两位自杀者结伴同行，一起踏上了神奇旅程。
这部历史剧根据 Chhatrapati Shivaji Maharaj 之子 Chhatrapati Sambhaji Maharaj 的生平改编。
The story appears simple on the surface, but is revealed, especially after multiple viewings, as more multi-layered and textured than Cassavetes at his best. Ostensibly it concerns a 14-year old Catholic girl, Wynne (Agutter) growing up in this post-modern wasteland, who develops a crush on her much older adoptive brother (Marshall)- a crush which perversely deepens and grows into infatuation once she starts to believe he is the local sex killer. This is in itself an idea that makes you sit up and jolt, but as the narrative develops, it continues not necessarily along a linear path but in several confusing and fascinating directions: the family__APOS__s history, (detailed effectively in chilling flashback during an improvised seance) is a chequered one, and has suffered at least one major relocation and upheaval in the last ten years. At the crux, however, it__APOS__s the depiction of socialal changes that make I Start Counting so fascinating and elevate its language far beyond the confines of the standard horror film. The major subtext- that teenage girls were maturing more quickly than before, and developing full sexual and romantic appetites (even if in thought rather than deed) but were not possessed of enough discretion to make the right choices- was a step forward for a genre in which its young females had previously been portrayed as bimbo victims (Cover Girl Killer and The Night Caller spring to mind), but not one that all viewers would necessarily agree with. But most striking of all, and possibly the most enduring image which the viewer will take away with them, is of the masterful symbolism with which director Greene invests every shot. Every inch of the Kinch family__APOS__s world- their house, their walls, their TV, Agutters underwear, bedroom furniture and toys, Sutcliffe__APOS__s clothes, Marshalls van, the local Catholic church, their town centre, their record shop) - is painted a bright, scintillating white- a white which, by inference, is slowly becoming smudged and corrupted with the dirt of the outside world. White also symbolises, of course, purity and innocence (two qualities Catholic schoolgirls are supposed to hold dear), and it is into this world of innocence that the ever-present red bus (a symbol of violation and penetration), conducted by the lecherous yet similarly juvenile Simon Ward, makes regular journeys. The allegory is further expanded in one scene where Agutter believes she sees the Christ figure in church weeping blood: by the time we acknowledge it, its gone, but the seed has already been planted. Rarely in a genre production has the use of colour and background been so important or effective in creating a uniformity of mood. I Start Counting is as near-perfect an end to a decade as one could hope for, and exactly the kind of film people should be making now- which is, of course, exactly why they never will. A genre essential. by D.R.
