该剧讲述了虽然想谈恋爱却对此感到负担，想享受单身的自由却又讨厌孤独的年轻人们聚在co-livinghouse生活而发生的故事。真实的反映了青春的现实与艰难，其中也包含着温暖人心的恋爱心动。
1980年代，中国大陆迎来第三次人口出生高峰，许多夫妻响应计划生育政策只要一个小孩。人到中年的北京摄影记者曹德培（李雪健）和年轻漂亮的妻子段京华（宋丹丹）便是其中代表，他们与5岁的儿子汉汉组成幸福的三口之家。曹德培个人也即将迎来事业上的高潮，他的影展正在筹划中。 某日，曹德培接到要他去儿童福利院领回儿子的电话，不明所以。来到福利院后，他见到一个带着一封信来京寻找父亲的沉默不语的10多岁男孩，而该信正是他写给远在东北的前妻的。他下乡插队时结识前妻，两人离婚后前妻留在了那里。为了弄明真相，他带着男孩去了东北。 通过前妻的后任丈夫之口，曹德培得知前妻已经去世，而在两人离婚时，她已怀有身孕，这个名叫赵小木（叶静）的男孩的确是他的儿子。一时无措的曹德培想将小木先留在东北，哪知他尾随着上了火车。到京后，曹德培将小木安置在他冲洗照片的地下室暗房中，几番挣扎准备向段...
故事围绕着王大山一家展开，原本风平浪静的三口之家由于一个“意外之客”闯入，自此多了鸡飞狗跳又倍感温暖治愈的变数。突然之间，王大山发觉闺女小咪的亲爸竟另有其人？更让人心头一紧的是，这人竟是闺女的偶像柯雷？当稳定的家庭关系被打乱，当血缘和养育被放置在天平的两端，当“爱”被以番位细数，这个非典型家庭的相处法则亟待升级更新，所有人对于“家与爱”的理解在悄然之间发生改变。
这是一场发生在世界末日即将来临时的末世之恋。流行病学家苏珊（伊娃·格林EvaGreen）与餐厅主厨麦克（伊万·麦克格雷格EwanMcGregor）相识、相恋，但无奈此时此刻的世界正在遭受一场新型流行病的侵袭。随着流行病的蔓延，患者会伴随着情绪失控逐渐丧失味觉、嗅觉、听觉、直至最后丧失视觉。虽然苏珊和麦克都尽量努力避免患病，但当作为厨师的麦克不再能尝出食物的味道，作为科学家的苏珊也渐渐丧失感觉，这对末世情人便已知晓无人能够逃脱这场灭顶之灾。两人于是选择珍惜仅有的彼此，最后在逐渐模糊的视线中拥抱住对方。
21世纪初，人类将多数人留在被哥斯拉蹂躏的地球上，仅使被选中的人们乘上恒星间移民船·阿拉特拉姆，前往能够移居的“约定之地·τ星e”。但这一计划失败，人类只得再度返回地球。而长距离亚空间航行所引发的时空歪曲，导致人类回到的地方变成了“两万年后的地球”。在这个地球，主人公·晴男等人在遭受哥斯拉袭击的同时，与埃克西弗、比尔沙尔德两种族的异星人共同实行谋划了20年的“对哥斯拉战术”，通过殊死战斗成功击倒了哥斯拉。但喜悦并未持续多久，深藏地下的真正哥斯拉“哥斯拉·地球”现身了。两万年间持续成长生存、身高300米、质量超过10万吨，在进化成这种姿态的超巨大哥斯拉压倒性的破坏力面前，晴男等人落花流水。拯救了晴男的是被视为人类的残存者“弗图亚”之民，米亚娜。弗图亚是他们在这个地球首次遇到的人型生命种族。他们会是人类的子孙吗——。“弗图亚的神也被哥斯拉击破，如今只剩下卵。挑战者、抗争者，全部被火焰吞噬而消失了”面对这样的他们，晴男回应道“这是以人类的双手夺回地球的最后机会了”。另一方面，比尔沙尔德的指挥官·加尔格，注意到弗图亚使用的箭头是由“自律思考金属体·纳米金属”所制造而欢喜。这和21世纪他们在富士山麓作为“对哥斯拉决战兵器”所开发、在启动前遭到破坏的“机械哥斯拉”由同种物质所构成。这正是当时的开发设备至今仍然残存的证明——。
《美好年华研习社》是一档植根中华文明，聚焦中华古典文化的青春文养综艺秀，节目精挑细选了一群心怀艺术文化追求的年轻社员，他们在各文化艺术领域资深前辈的带领下，围绕每期不同的人物选题，通过青春研习奉上一台精彩的作业大秀。力求精细复原、高光原创中华古典文化中的名人名场面，诠释中国人的美学风尚与精神底色。
以乡村少女进城打工，却在复杂难解的都市人际关系中载浮载沉的生命故事为题，描写孤身一人投靠亡父挚友的女主角，在城市老街一角的汤屋里看遍悲欢离合的惆怅物语，宛若现代写实版的《魔女宅急便》，女主角松本穗香曾演出《谢谢你，在世界的角落找到我》电视剧版女主角，被视为日本影坛潜力新秀。
Fraught with over obvious symbolism, Hartley's early feature is nonetheless a joy to watch. Hal here shows us his uncanny ability to cast his characters perfectly came early in his career. Adrienne Shelley is a near perfect foil to herself, equal parts annoying teen burgeoning in her sexuality (though using sex for several years); obsessed with doom and inspired by idealism gone wrong she is deceptively – and simultaneously – complex and simple. Her Audrey inspires so many levels of symbolism it is almost embarrassingly rich (e.g., her modeling career beginning with photos of her foot – culminating her doing nude (but unseen) work; Manhattan move; Europe trip; her stealing, then sleeping with the mechanics wrench, etc.) As Josh, Robert Burke gives an absolutely masterful performance. A reformed prisonerpenitent he returns to his home town to face down past demons, accept his lot and begin a new life. Dressed in black, and repeatedly mistaken for a priest, he corrects everyone (I'm a mechanic), yet the symbolism is rich he abstains from alcohol, he practices celibacy (is, in fact a virgin), and seemingly has taken on vows of poverty, and humility as well. The humility seems hardest to swallow seeming, at times, almost false, a pretense. Yet, as we learn more of Josh we see genuineness in his modesty, that his humility is indeed earnest and believable. What seems ironic is the character is fairly forthright in his simplicity, yet so richly drawn it becomes the viewer who wants to make him out as more than what he actually is. A fascinatingly written character, perfectly played. The scene between Josh and Jane (a wonderful, young Edie Falco . . . You need a woman not a girl) is hilarious . . . real. But Hartley can't leave it as such and his trick, having the actors repeat the dialogue over-and-over becomes frustratingly arty and annoying . . . until again it becomes hilarious. What a terrific sense of bizarre reality this lends the film (like kids in a perpetual am notare too argument). Hartley's weaves all of a small neighborhood's idiosyncrasies into a tapestry of seeming stereotypes but which delves far beneath the surface, the catalyst being that everyone believes they know what the unbelievable truth of the title is, yet no two people can agree (including our hero) on what exactly that truth is. A wonderful little movie with some big ideas.
患有躁郁症的阿东（余文乐 饰）因为当年误杀饱受痛症折磨的妈妈（金燕玲 饰）被判入住青山医院，康复出院后住在当陆港司机的爸爸黄大海（曾志伟 饰）的板间房里。黄大海试图关心儿子，但阿东却并不领情，原来阿东一直对爸爸当年抛弃家庭的事耿耿于怀。阿东重投社会，却遭到身边的朋友歧视，唯然他尝试平复自己，同时阿东也想尽方法希望找回当天谈到近乎订婚的Jenny（方皓玟 饰），没想到当找到Jenny时，却有着另一番滋味。