艾米（布里奇特·米拉 Brigitte Mira 饰）是一名60岁的清洁女工，优馆辛苦工作的她拿着微薄的工资，优馆生活很是清贫。机缘巧合之下，她结识了40岁的阿里（El Hedi ben Salem 饰），他们一起跳了一支舞后阿里提出送艾米回家。夜深了，阿里错过了末班车，只得在艾米家留宿。两个孤独寂寞的人相见恨晚，秉烛夜谈，当艾米为此感到深深的疑虑时，阿里只是淡淡的安慰了她。果不其然，艾米留宿男人的事情很快传遍了大街小巷，邻居同事的指指戳戳教她如坐针毡，无奈的她只得编撰了一个谎言，她说阿里是她的未婚夫。这门婚事毫不意外的遭到了所有人的反对，大家尽己所能的排挤、诋毁这对夫妻，这使得他们决定外出旅行避避风头。回来后两人的境遇有所好转，并不是街坊邻居接纳了他们，而是因为他们有了新的排挤对象。没有了外界的压力，艾米和阿里的感情却又因为内部的矛盾而产生了裂痕。影片用写实的手法展现了一个冷漠、刻薄的社会，探讨了这个社会之中存在的各种歧视以及人性之中孤独又灰暗的一面。
回复 :重庆白沙镇，陈雪松（陶虹 饰）与蔡伟航（郭晓冬 饰）的婚姻像略显乏味的小镇生活一样晾晒在误会和琐事中，他们为孩子的接送、亲属的埋怨，以及定时出现在陈雪松杂货店柜台前兑换零钱的出租车司机吴俊彦（王紫逸 饰）而陷入龃龉。蔡伟航所在的家具厂停产，为自谋生路，他开始联系老同学试图制作贴牌家具并盘下工厂。在这段迷茫焦灼的日子里，陈雪松与房地产商杨九城（张一白 饰）相恋的过往以及吴俊彦持续的示好不断侵入两人的关系，蔡伟航在流言的侵扰中不断爆发，却始终不能深入到妻子的内心。陈雪松向杨九城借来盘下工厂的启动资金，蔡伟航的事业似乎将踏上正轨，此时他决定带女儿做亲子鉴定……
吴易泽
回复 :奥兰多·布鲁姆、芙蕾达·平托、小莱斯利·奥多姆、Cynthia Erivo将主演约翰·雷德利(《美国重案》)执导新片《时栈中的指针》(Needle in a Timestack)，Bron Studios制作。基于Robert Silverberg写的短篇，雷德利改编剧本，设定在一个存在时间旅行的世界里，一对夫妻努力维系着婚姻，过去和现在总是摇摆不定。
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.
