来自中粮集团的女干部梁田，挂职东北绥滨县“第一书记”，当地特色是大鹅养殖加工。梁田量身定制精准的脱贫方案，花式直播售卖大鹅。并帮助了贫困户二贵和铁叔，转变思想、纠正“懒汉”作风，虽闹出不少笑话，但最终成功脱贫的故事。
聚焦当下男女就业机会平等的趋势、多元化家庭分工和愈发普遍的“全职爸爸”育儿现象，通过观察素人全职爸爸照顾家庭、抚育孩子的日常生活，探讨家庭教育中男性角色的重要性，旨在对育儿关系、家庭教育等话题进行正向引导，提供多元化的育儿模式建议，倡导社会及家庭帮助女性平衡生育和工作压力，推动男性积极分担养育责任。
该片是电影《壶王》的姐妹篇，根据徐风的同名小说改编。讲述新壶王阿多的故事。故事发生在抗日战争期间，已经成为壶王的阿多此时面临着从未有过的艰难，前方战场的推进直接影响了他的生意，生计甚至都出现了问题。但是一心做壶的阿多并没有察觉战争脚步的临近，依旧整日沉浸在自己的壶艺世界里。就在这个时候，他的家里来了一位日本的制壶艺人——平野。平野的父亲曾经是阿多的师傅在外收的徒弟，按辈分来讲，阿多应该算是平野的师叔。平野来的目的是想跟阿多切磋制壶的心得，但是几番言语下来阿多觉得平野心里的那股傲慢和咄咄逼人……就在此时，阿多的妻子碧云无意中收留了三个国军的士兵，事件从此变得一发不可收拾，因为平野真正的身份是，日军军需少佐。
这部纪录片系列聚焦于四名自称先知的韩国领袖人物，探索令人胆寒的真实故事，以及盲目信仰的黑暗面。
在这部令人毛骨悚然的短片中，可怕的生物从魔法故事书中跳出来，给奥珀尔姑姑和她的小侄女妮娜带来了混乱和闹剧
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.
浙江兰溪市，兰溪博物馆珍藏的一幅郑板桥真迹《兰花图》被盗，市刑警队迅速成立专案组展开侦查。兰溪市八卦村青年李大成自己经营着一家爱心花店，情人节这天，他来到鼎发集团公司，给公司的单身女性免费派送鲜花，却阴差阳错的拿走了盗贼毛杰准备交给鼎发集团总裁周天鸿的《兰花图》。周天鸿的女儿周小萍美丽聪慧、善良可人，是周天鸿的掌上明珠。周天鸿花重金赞助兰溪市每年一届的“兰花女大赛”，准备力捧周小萍当“兰花女”冠军。周天鸿答应周小萍，如果她得了冠军，自己会亲自给周小萍颁奖。周天鸿的生意濒临破产，孤注一掷的他指示毛杰偷盗《兰花图》，准备将《兰花图》拿到海外出手挽救公司的危局。《兰花图》被李大成拿走，周天鸿深恐自己偷盗的行径败露，指示毛杰跟踪李大成回到八卦村取回《兰花图》。同样为文物贩子的沈秋云秘密雇佣身手不凡的老贼王四，要王四查到《兰花图》的下落并将之弄到手。女刑警夏冰跟踪毛杰来到八卦村。专案组组长王彬指示夏冰要放长线钓大鱼，破获毛杰背后的指使者。与此同时，沈秋云也来到兰溪，准备一方面接手王四的货，一方面了却一桩与周天鸿的私人恩怨。
香港的创作乐手Michael（吴彦祖饰）因故滞留北京，与一群真心热爱着摇滚乐的北漂青年相遇。他们有着自己的乐队，乐队主唱叫做平路（耿乐饰），队里还有个活泼反叛的领舞女孩儿杨颖（舒淇饰）。Michael被这群年轻人深深吸引着，他喜欢他们对音乐苦苦的执着精神，一路跟着他们到乡下走穴。然而，本土文化浓重的北京既可以深刻的诠释摇滚音乐，又可以高傲的把它视为粪土、垃圾。平路他们生活拮据，在音乐的路途上不断碰壁。唯一不变就是对音乐发自灵魂的热爱，如同那歌里一声声的诘问：“我想到光的深处，那里有风吗……”边缘的生活方式，坚挺的灵魂，感动每个人的是歌声还有梦想……
在一次学校事件后，来自不同社会阶层的单身母亲团结在一起成立了一个互助小组
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