郝岩冰（成泰燊 饰）的妻子无故失踪，国产距今已有八年之久，国产这些年间，痛苦的男人一直将自己关在红色的房车里，默默的等待着不知如今身在何处的妻子再度出现。在一条危险的公路上，郝岩冰遇见了神秘的女孩美美（王珞丹 饰），麻木而又冷静的她似乎不知道危险为何物。原来，美美亦有着曲折和离奇的身世。从刚一出生起，她便要忍受常人无法理解的肉体和精神上的双重痛苦。长久以来，美美都暗恋着修车厂的老板达叔（刘兆铭 饰），然而这段感情注定将不会有任何的结果。美美搭上了郝岩冰的房车，惊讶的发现这辆车能够缓解她的痛苦，与此同时，她还发现，达叔守口如瓶的秘密和眼前的男人有着千丝万缕的关联。
回复 :《爱的引擎》是由汽车之家论坛出品的用户故事，该片由汽车之家论坛红人晓晓领衔主演，讲述了汽车爱好者“晓晓”为了给即将到来的宝宝一台合适的座驾，也为了给媳妇一台可以装小食品零嘴的车，偷偷打工赚钱引发啼笑皆非大猜想的故事。
梁雁翎
回复 :John Forbes is a family man who's tired of the 9 to 5 humdrum of his job an insurance company executive. Life gets a little more exciting for him when he calls upon femme fatale Mona Stevens. Her boyfriend has embezzled from a store insured by Forbes' company and has showered her with gifts using the loot. Forbes comes to collect the ill-gotten gifts, but the boyfriend is in jail, and Forbes falls hard for Mona and begins an affair. The only problem is that MacDonald, a private dick who freelances for the insurance company, has had his eyes on Mona first. The obsessed MacDonald turns the soon-to-be-released boyfriend against Forbes.
范玮琪
回复 :Three years after the loss of his brother Vittorio, with whom he shared his entire career, Paolo Taviani returns to the works of Luigi Pirandello, which the pair adapted in 1984 (Chaos) and 1998 (You Laugh). In keeping with the Sicilian playwright’s vision, the film is not at all what it appears to be. The title may come from a 1910 novella, but there is no trace of that book’s jealousy-riddled plot. Instead, the focus is on Pirandello himself, or rather, his ashes, which are transported from a hasty burial site in fascist Rome to a permanent resting place in Sicily, on a trek that takes us through post-war Italy and its filmed memories, as seen in newsreels, amateur films and fragments of Neorealism. Having buried the master, Leonora addio then shifts gear from road movie to film adaptation, but here it picks a different Pirandello story, namely the last one, written shortly before his death in 1936. From the farewell of the title to its return to the writer’s last words, it is hard not to read this work, so free and yet so much a part of the Taviani world, as a moving brotherly farewell which, just as in 2012’s Golden Bear winner Caesar Must Die, once again uses cinema to give voice to literature and history.