被弃置在百货公司内的婴孩长大后，白日成为超级购物狂方芳芳（张柏芝），白日因为无法控制自己的购物欲望，方芳芳陷入经济困境，而更要命的，是她因此连番失业，痛定思痛之后，她决定去看精神科医生，不想这个非一般的精神科医生李简仁（刘青云）有选择恐惧症。看病过程中，李简仁的护士早产，方芳芳协助保下母子平安，因此获得工作，但条件是要帮李简仁解决选择问题。不久方芳芳遇上同她一样患有购物狂症状的何穷富（陈小春），建议其看心理医生，但何穷富生性吝啬嫌医生费贵，方芳芳只好充当医生帮他治疗。方芳芳正为信用卡债务苦恼之际，发现何穷富与李简仁都是香港大富豪，而与此同时，他们两个又同时约会她，令她如在梦中同时应答了两个约会。
ҹԸ
回复 :放寒假了，新春到来之际，千色影像与天天学舞共同开办的培训班学员，即将告别学伴们，各自回家过新年。学员们有了一个特别的行动计划。就是在寒假期间帮助孤儿院的孩子送去浓浓的爱心，帮助留守儿童度过一个亲人相聚的幸福团圆年。在影视班老师的带领下，几名影视表演学员，通过各自不同的爱心呈现，完成了爱心暖春的高级任务，给孤儿和留字儿童送去了新年的一份大大惊喜。同时孩子们在假期也收获了满满的感动和温暖的社会体验。
麦田守望者
回复 :网络小说作家赵雨禾在姥姥的遗物笔记本里了解到了姥姥在战争年代的爱情故事，雨禾将其改编并发表在网络上大受欢迎，因笔记本残缺几页，导致雨禾和现男友陈晓峰以及好友顾研萱，前男友马跃一起寻找姥姥在怀化曾经生活过得痕迹，对于爱情，雨禾与晓峰之间；顾研萱与马跃之间，在经历了怀化心灵之旅后会发生什么样的改变？
回复 :Somewhere in the remote region, the war ends. In the midst of ruined cities and houses in the streets, in rural hamlets, everywhere where people still live, are children who have lost their homes and parents. Abandoned, hungry, and in rags, defenseless and humiliated, they wander through the world. Hunger drives them. Little streams of orphans merge into a river which rushes forward and submerges everything in its path. The children do not know any feeling; they know only the world of their enemies. They fight, steal, struggle for a mouthful of food, and violence is merely a means to get it. A gang led by Cahoun finds a refuge in an abandoned castle and encounters an old composer who has voluntarily retired into solitude from a world of hatred, treason, and crime. How can they find a common ground, how can they become mutual friends? The castle becomes their hiding place but possibly it will also be their first home which they may organize and must defend. But even for this, the price will be very high.To this simple story, the journalist, writer, poet, scriptwriter, movie director, and film theoretician Béla Balázs applied many years of experience. He and the director Géza Radványi created a work which opened a new postwar chapter in Hungarian film. Surprisingly, this film has not lost any of its impact over the years, especially on a profound philosophical level. That is to say, it is not merely a movie about war; it is not important in what location and in what period of time it takes place. It is a story outside of time about the joyless fate of children who pay dearly for the cruel war games of adults.At the time it was premiered, the movie was enthusiastically received by the critics. The main roles were taken by streetwise boys of a children's group who created their roles improvisationally in close contact with a few professional actors, and in the children's acting their own fresh experience of war's turmoil appears to be reflected. At the same time, their performance fits admirably into the mosaic of a very complex movie language. Balázs's influence revealed itself, above all, in the introductory sequences: an air raid on an amusement park, seen in a montage of dramatic situations evoking the last spasms of war, where, undoubtedly, we discern the influence of classical Soviet cinematography. Shooting, the boy's escape, the locomotive's wheels, the shadows of soldiers with submachine guns, the sound of a whistle—the images are linked together in abrupt sequences in which varying shots and expressive sharp sounds are emphasized. A perfectly planned screenplay avoided all elements of sentimentality, time-worn stereotypes of wronged children, romanticism and cheap simplification. The authors succeeded in bridging the perilous dramatic abyss of the metamorphosis of a children's community. Their telling of the story (the scene of pillaging, the assault on the castle, etc) independently introduced some neorealist elements which, at that time, were being propagated in Italy by De Sica, Rossellini, and other film artists. The rebukes of contemporary critics, who called attention to "formalism for its own sake" have been forgotten. The masterly art of cameraman Barnabás Hegyi gives vitality to the poetic images. His angle shots of the children, his composition of scenes in the castle interior, are a living document of the times, and underline the atmosphere and the characters of the protagonists. The success of the picture was also enhanced by the musical art of composer Dénes Buday who, in tense situations, inserted the theme of the Marseilaise into the movie's structure, as a motive of community unification, as an expression of friendship and the possibility of understanding.Valahol Europaban is the first significant postwar Hungarian film. It originated in a relaxed atmosphere, replete with joy and euphoria, and it includes these elements in order to demonstrate the strength of humanism, tolerance, and friendship. It represents a general condemnation of war anywhere in the world, in any form.
