一晃眼数年过去，珍妮弗（莎拉·巴特勒 Sarah Butler 饰）却依然深陷之前的阴影之中无法自拔，惨不忍睹和回忆和梦魇纠缠着她，她唯有寻求心理医生的帮助。珍妮弗参加了一个女性互助小组，在那里，她结识了一名特立独行的新朋友马拉（Jennifer Landon 饰）。 马拉的一言一行影响和改变着珍妮弗，在互助小组中所听到的那一个个悲惨的故事亦深深震撼着珍妮弗。在马拉的带领之下，珍妮弗和她一起展开了针对男人的报复行动，起初只是威胁和恶作剧，之后却慢慢演变成为了彻底的暴力，在此期间，珍妮佛逐渐发现了内心里对于男性的仇恨。某日，马拉死了，死前受到了非人的折磨和虐待，珍妮弗怀疑这一切同她那身强体壮的前男友有关。
俄罗斯人迈尔斯（迈克尔•马德森 Michael Madsen 饰）跟黑人同伙说想要金盆洗手，但是黑人警告说跟他交易的是一个不讲信用的公司。对此，债台高筑的俄罗斯人并没有在意，他依旧利用情人桑德拉（艾莎•阿基多 Asia Argento 饰）替自己贩毒，同时验货的还有跟莱斯利（吴嘉龙 饰）的妻子休（林熙蕾 饰）。两个人因为是情敌所以貌合神离。 在一次交易中，桑德拉不幸遭遇警察突袭，这时莱斯利挺身而出帮助她逃离毒贩老巢，并且跟她擦出了爱情的火花。当再次出现希望SM的时候，她亲手杀掉了昔日情人，并踏上了莱斯利安排好的逃生路线。然而，跑路到香港的她，再次邂逅了休，并遭遇了更加云谲波诡的追杀……
忍不住查看男友手机的初见（黄翠茹饰）意外的发现了男友和其他女孩的暧昧讯息，感情受到伤害的初见黯然神伤，再也无法面对男友一如既往的甜言蜜语。天送（黄浩然饰）的姐姐和姐夫死于一场火灾，心中充满了对于姐姐的愧疚，天送毅然放弃了自己成为玻璃艺术家的梦想，收养了姐姐的女儿悠悠（杨铠凝饰），没想到他对悠悠的无微不至在无形之中给予了恋人蔡妍（姚子羚饰）巨大的心理压力，如积月累之间，两人渐行渐远。悠悠和保姆爱林（陈秀珠饰）之间感情十分要好，而爱林不是别人，正是初见的母亲，天送和初见就此相识。随着时间的推移，天送和初见之间的距离渐渐缩短，但此时的天送并不知道自己是否应该重新开始一段感情，初见的身边亦有名为王子翔（王浩信饰）的英俊上司对其情有独钟。
Middle class student Bob Letellier enters a new world when he meets Alain, a free-thinking rebel who, along with his group of young Parisians, has opted for a life of instant gratification instead of work and commitment. At a party, Bob meets a young woman, Mic, who appears to be just as carefree and cynical as Alain. Mic's only dream is to own a luxury car, and with Bob's help, she manages to find the money to but it. Mic's friend Clo discovers she is pregnant and, not knowing who the father is, she asks Bob to marry her. When they next meet at a party, Bob and Mic deny that they have any feelings for one another - a declaration that soon leads to tragedy... Marcel Carné is widely regarded as one of the standard bearers of French quality cinema of the 1930s and 1940s, responsible for such masterpieces as Quai des brumes (1938) and Les Enfants du Paradis (1945). How ironic then that, in 1958, towards the end of his film-making career, he should make a film which dared to portray the attitudes and behaviour of the 1950s youth, in a way that effectively captures the mood and sentiment of the time. Les Tricheurs was a hugely controversial film, not least because of its blatant depiction of adolescent free-love, and was even banned in some regions of France. It also received some intensely unfavourable reviews, most notably from the young hotheads on the Cahiers du cinéma such as François Truffaut who cited this film as a prime example of the decline of French cinema into mediocrity. In spite of all this negative press, the film proved to be an astonishing commercial success, attracting five million cinema-goers, and was awarded the Grand Prix du Cinéma français in 1958. Whilst Les Tricheurs is not as flawless as Carné's earlier masterpieces, it is nonetheless a significant work, having the power to both shock and move its audience, whilst having great entertainment value. It evokes the mood of its time in a way that few French films of this period did, depicting young people as pleasure-seeking rebels, rejecting the austerity and discipline of the previous generation whilst pursuing a life without cares, responsibilities or love. Similarities with James Dean's films of the 1950s (most notably Rebel without a Cause) are apparent, although Carné's treatment of young people is far more abstract - in his film they merely symbolise a world that has lost its way, more or less victims of post-war prosperity. Although the young people in Les Tricheurs lack the authenticity to be totally credible, the film does make an important, and indeed quite disturbing point, about where the permissive society may be heading. Much of the pleasure of the film is in the performances from its four lead actors, Jacques Charrier, Pascale Petit, Laurent Terzieff and Andréa Parisy, although only Terzieff is really convincing in his role. Marcel Carné originally considered Alain Delon and Jean-Paul Belmondo for the parts of Bob and Alain respectively, before opting for Charrier and Terzieff. As a consolation, Carné offered Belmondo a smaller part in the film - alas too small for the actor to be noticed by the public. Belmondo's breakthrough had to wait until the following year when he starred in Jean-Luc Godard's revolutionary A bout de souffle, a film which offers a very different perspective of the youth generation.
为了逃脱地狱坟墓的禁锢，吸血鬼（马汀·坎普 Martin Kemp 饰）需要纯洁处女的鲜血，在黑暗和痛苦中等待了千百年，一个名为夏洛特（艾莉莎·米兰诺 Alyssa Milano 饰）的年轻女孩成为了吸血鬼的目标。
电影导演尼科洛法拉刚刚离婚，创作上又遇到了危机。他和一个叫马维的女孩交往，有个男人也在追求着马维。尼科洛正在准备拍摄一部爱情片，但却始终无法选出女主角。他和马维为了躲避另外男人的追踪，开车前往乡下，但他和马维都搞不清楚两人的感情和关系。马维后来却失踪了，尼科洛怎么也找不到。 尼科洛继续寻找女主角，遇到了伊达，两人开始交往。尼科洛给伊达讲了很多自己和别人的故事，也谈到了马维。伊达帮尼科洛找到了马维的地址，但尼科洛很麻烦地找到马维时，却发现她已经和另一个女孩住在一起。 尼科洛和伊达结了婚，两人去度蜜月，来到冬天阴冷寂寞的海边。尼科洛说，他要的就是孤独。两热回到旅馆，伊达街道消息，她怀孕了，但孩子却不是尼科洛的。尼科洛离开伊达，一个人回到房间，坐在窗台上，想到自己就象是一个小星球，在宇宙中飞翔，前往太阳系去看物质是怎样分配的。
《走向新中国》讲述1945年，国民党统治下，留美冶金工程师常为梁的工业救国理想破灭了。解放后，他看到技术人员不被尊重，他很不愉快，不积极，看不到工人阶级的力量。军代表帮助他提高了觉悟，1949年10月1日，新中国成立了，常工程师和工人们成为了新中国的主人。
曾经贵为加贺藩剑术指导的斑目久太郎（北村一辉 饰），怎么也想不到他这个被人称作“斑鬼”的大名鼎鼎的武士，其命运竟然会因为一只猫发生翻天覆地的巨变。哎~~~谁让玉之丞SAMA如此可爱，时时刻刻都能融化人的心灵呢！久太郎似乎心甘情愿为了它出生入死。一度离开江户后，出于武士的自豪感，以及为了家人和玉之丞，久太郎再度返回这座充满是非的城市。怎奈新的房东菊乃禁止养猫，他只得小心翼翼瞒过对方，委曲求全。为了生计，久太郎四处求职，在这一过程中也和玉之丞发生了不少有趣搞笑的故事。主人和宠物的羁绊由此变得更深…… 本片为同名电视剧的第二季。
电影《村官普发兴》主人公原型是真实的云南民族地区的“村官英雄”，普发兴是为民爱戴的共产党员，他20年如一日，脚踏实地，勤奋工作。特别值得一提的是，当支书前，普发兴在村里搞运输，是全村响当当的万元户，面对放下既自由又赚钱的活计去当清苦劳碌的支部书记，家里人不同意，经过激烈的思想斗争,普发兴说服了家人，上任以来公而忘私，服务百姓，2007年3月28日，普发兴因积劳成疾，逝于任上，以生命书写了新时期一个村支书和新农村建设带头人的风采。
剧里讲述bee的角色前世因破坏别人婚姻,所以受到了别人的诅咒今世找不到老公,到了今世bee的第一任男友求婚时为了捡婚戒被车撞死,第二任男友拍婚纱照时心脏病发死。为了摆脱克夫的命运，女主找到了算命先生，算命先生说女主必须找到前世投胎转世的人，求得她/他的原谅(ps:不确定转世的人是男还是女),只知道这人一遇到妞就会和妞吵架,而且屁股上有痣,星期三出生,正好剧里妞遇到ak的角色一见面就吵架,妞认为ak就是转世的那个人,所以千方百计要接近ak看看到底是不是她要找的那个人,因此闹出很多笑话。