友子（柿园玲佳 饰）和母亲过着相依为命的生活，本庄母亲常常徘徊在不同的男人之间，本庄每天都喝到深夜才回来，友子虽然年幼，却早已经习惯了这样的生活。某日，母亲在丢下了生活费后又不知所踪，无奈之下，友子只能找到舅舅政男（桐谷健太 饰），暂时住在他的家里。在舅舅家，友子见到了政男的同居“女友”伦子（生田斗真 饰），伦子虽然拥有着柔软的胸脯，却是个货真价实的男人。在友子面前，伦子展现出了无限的温柔和体贴，渐渐让友子找回了缺失的母爱，三个人组成了一个奇异却充满了温暖的家庭。可爱乖巧的友子让伦子渐渐产生了想要将她永远留在身边的念头，可就在此时，友子的母亲回来了。
回复 :解放前夕的黔北山区，世代流传着养童养媳的畸形婚姻习俗。十八岁的余杏仙（丛珊 饰）嫁给了易家寨六岁的小丈夫易少伟（王隹艺 饰）。他们平日里以姐弟相称，尽管少伟还三天两头尿床尿裤子，但他们在一起十分融洽。婆婆五娘（张伟欣 饰）是个命运坎坷而善良的女人，早早死了丈夫，拉扯着儿子相依为命，至今守寡。杏仙过门后，一家三口过得平平静静。农忙时，五娘的侄子开炳不时来帮工，与开炳的接触中，杏仙心生好感。不久山区解放了，开炳又来到易家，开炳和杏仙也越来越喜欢对方。一生受封建思想荼毒的三嫂（梁彦 饰）察觉此事，便挑唆年幼的少伟与杏仙闹别扭；并鼓动村里人上演“捉奸”的闹剧。平日里懦弱的杏仙挺身而出，当众宣布要与少伟离婚，与开炳结合......
回复 :1980年比利时的默兹河畔，钢铁厂一家接一家地倒闭，成千上万的工人不得不另谋生路，居住于瑟兰的钢铁工人法布里斯也未能幸免于难。原本以丰富的钢铁知识和精湛的业务水平引以为傲的他，觉得自己仿佛一夜之间成了身无一技之长的废人，从此一蹶不振。深爱他的妻子席琳为了帮助丈夫振作起来做了各种努力，却仍换来他的不告而别。对丈夫的爱使她始终不曾放弃寻找，然而这份爱又能否拯救那个心如死灰的男人？（小易甫字幕组）
杜磊
回复 :What could the fate of the Villa Empain, Baron Empain’s crazy project in Brussels, which has gone through a long and eventful journey since its completion in 1934, possibly inspire? Katharina Kastner’s challenge was to draw the portrait of the place, keeping in mind the work of time, like in a human existence. Shot in 16mm, her film appeals to the senses, it captures the stirring of leaves undulating in the garden light, the movement of iridescent pearls, or the colourful games of a piece by Daniel Buren. Without a word, but with a caressing camera, she pays close attention to the hidden patterns on the gorgeous marbles, or to the veins in the most precious types of wood used to decorate the rooms. In slight touches, regardless of the monumental aspect of the 27.000 square-feet villa and the pool that so impressed its first visitors, Katharina Kastner o ers an organic vision of the place, which has been marked by the trials and tribulations of life, and used successively as a museum, an embassy and a squat, until its final renovation. The clever editing makes furtive connections, underlines colour associations, mixes up times and tactile sensations, while the spaces we explore keep rustling. The film takes us on a reminiscing journey, with slices of Empain’s life, from the family archive here on a holiday, there playing on the beach, images from a distant past that keep haunting the premises. The film reveals to us this living space that was designed like a piece of art, but it does so in a wandering way. This dream vision guides us through the villa like an echo of foregone fantasies, a mental space, but also a welcoming backdrop for the work of time. A bit like the fingerprint work we see in the film, or the slight touch of a pencil on a blank sheet.
