上世纪40年代，春香传理查德·皮蒙特（Ron Livingston 饰）出生在一个平凡却危机重重的家庭里。母亲（Rebecca De Mornay 饰）因连续小产精神上遭受严重的困扰，春香传父亲（Clint Jung 饰）则因一次意外过早地离开人世。一次偶然的机缘，让理查德喜欢上了演讲，虽然学历不高，但是他凭借出色的口才赢得了无数的荣誉。不过他的自傲却遭到一位教授无情的打击，在此之后，理查德自愿前往越南战场，并在那里留下了终身的残疾。回国后，理查德因耳聋的问题无法进入学校，也得不到任何工作。当时的美国社会对残疾人还充满诸多不解，他与许多残疾朋友遇到了无数的刁难和羞辱。在这一过程中，理查德渐渐找到人生前进的方向……
南贤俊
回复 :佳琦和5个小伙伴坐车去农家院游玩。路上碰到一个妇女被枪打中。由于进入深山手机没有信号，一车人只好到度假的目的地农家院报警。恰巧，农家院的固定电话和网络都坏了。这样佳琦更加不安，但是她的小伙伴们却不以为然。暴风雨来的很突然，大家都被困在农家院。一个背包客来到农家院，他的到来给孤独的农家院笼罩上的一层神秘的阴影。随着佳琦朋友的一个个失踪和死亡，背包客露出了本来的面目。然而这些就是佳琦被催眠的梦，方医生伪装成背包在催眠中清理佳琦心理的分裂人格。她的小伙伴们根本就不存在。方医生见效果起到了作用，再次进入梦中，利用佳琦分裂出来的人格给佳琦来了一次积极阳光的人生引导。最终佳琦痊愈，她将面对一个美好的未来。
梁朝伟
回复 :丁叮（应采儿 饰）从美国回来后到了北京戏剧学院读书，一次偶然的机会她认识了阿当（古天乐 饰），这名大帅哥是出了名的“花心大萝卜”，他却对性格爽朗，外表清秀的丁叮。他遇见丁叮的时候正在甩掉一堆追求他的女生。两人在匆忙间一见钟情，彼此倾心。不久，阿当便向丁叮表达了爱意，两人顺利坠入爱河，共享了许多甜蜜的热恋时光。可是好景不长，阿当患上了失忆症，把丁叮当作了陌路人。丁叮顿时晴天霹雳，但面对深爱的阿当，她不懈努力，要与阿当重新开始。丁叮以为两人能够从此幸福的走下去，但阿当的失忆症状总是不时发作，一次次忘掉丁叮……
蛙蛙合唱团
回复 :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.
