简介：常錫劇電影　　寡婦蘇小娥受盡主張大有的剝削壓迫，靠磨豆腐爲生，過着孤苦伶仃的生活。　　一天晚上，她到河邊挑水，不提防水桶給一個行走匆忙的過路人撞翻了，這個人名叫何宜度，是地主張大有家裏僱傭的長工，爲人忠厚老實，他辛苦工作一年，張大有竟狠毒地把他的工錢賴掉了，一路上他想着家裏的老孃正餓着肚子，年關又到，一個錢都沒有，急得心慌意亂，不小心便把蘇小娥的水桶給撞翻了。蘇小娥問明白了何宜度的底細後，很同情他，就把他請到自己家裏去，還拿出50個小錢給他過年。何宜度非常感激，又見她一個人孤苦伶仃，怪可憐的，便幫她幹起活來，挑水、推磨、灌漿、燒火……蘇小娥一個人平常要忙到二更天的活，今晚在何宜度的幫助下，沒多少時候便全部做完了。　　豆腐磨完了，何宜度就要回去。蘇小娥心裏真有些捨不得他走，請他喝了一碗豆漿，又借給他一件棉衣穿上。何宜度是個忠厚老實的人，他從來沒有受到過這樣溫暖體貼的關懷，他感動得連話都說不上來。蘇小娥對何宜度說了真心話：“你我都是苦根生，應該互相來幫助!”何宜度也答應把老孃接來，跟蘇小娥一起生活。　　這一對有了真誠愛情的青年男女，終於衝破了舊禮教的束縛，幸福地結合在一起。

简介：二十年前的狄龍，桌球技術高超，拳腳了得，後因爲一場拳賽得罪了幕後操縱大哥，結果要天涯漂泊，以行船爲生。如今，狄提早退休，重臨香港，遇上青年蔣慶龍。蔣因追求老闆妹妹梁婉靜而與碼頭貨運少東羅潤平常起衝突，狄爲扶持蔣，利用生活實例鼓勵蔣不斷奮鬥。蔣於一次爭奪梁的過程中，將羅打傷，狄往解圍，並約定三個月後雙方擂臺打拳以定強弱…airuib.com

简介：扎馬，一個出生於南美的西班牙軍官，等待一封國王授予他更好的位置的調令。他的處境很微妙。爲此，他被迫順從地接受每項任務。當然，國王的命令從未到來。當發現等待是徒勞的時候，他決定參加一個危險的任務，以期讓國王聽到他的事。然而，當生命處於危險之中，他發現他唯一的願望是活着。

简介：神祕的深山旅社“麗園”，整形師於曼麗（浦蒲 飾），和因愛變性的學生韓真（方慧 飾）一起，以大學生梁敬濤（孫祖君 飾）、作家盛夏（李雯雯 飾）等爲試驗品，專研轉基因換膚技術。而每個人身上都埋藏着轉換身份的隱情。其中，於曼麗在一場車禍中失去愛人，自己也毀了容……　　作爲首部直面“整形風”的國產驚悚片， 《整形師·臉》以類型片的方式，通過整形驚悚、心理驚悚、人性驚悚等，“三重門”式遞進深入時下美容整形現象的幽祕之處，令人不寒而慄。

简介：《深夜食堂2》的佐藤浩市和《犬之島》的渡邊謙確定加盟福島核電站災難主題新片《福島50死士》。　　據悉，本片將圍繞冒着生命危險留在覈電站的最前線工作人員展開，他們中包括值班主管Isaki和工地主任Yoshida。媒體後來以“福島50死士”來稱呼這批勇士。　　本片目前還未定檔，更多信息靜待官宣。

简介：法國人André（邁克爾·加拉布魯 Michel Galabru 飾）和她的孫女Jeanne（朱莉·德拉姆 Julie Delarme 飾）原本平靜的生活因二戰的到來和德軍對法國的侵佔被打破，更讓他們無法接受的是，他們家裏的一個房間竟被徵用作爲一個德國軍官Werner（託馬斯·儒阿特 Thomas Jouannet 飾）的起居室。他們對這個敵方的軍官一直保持着一種冷漠，尤其是Jeanne，她從來不和軍官說話，即使是在他向他們問好的時候。讓人意想不到的是，這個年輕的軍官在多日的相處後，竟和他們談論起自己的生活、音樂和法國文化，透露出他納粹軍服下隱祕的內心世界。同時，Jeanne也在積極的參與法國地下反抗德軍的組織活動。漸漸地，兩個來自敵對雙方的年輕男女間產生了一種奇異的情感。這種情感在他們離別的時候，化成了Jeanne口中的一句話，她和他說的第一句話，也是唯一的一句話......　　本片根據法國作家Vercors寫於1941的同名小說改編。

简介：故事接着《C 偵探》展開。阿探（郭富城 飾）的破案能力得到了充分證明，好友風澤（廖啓智 飾）也倍感風光，但風澤卻在警局內仍不得志，被調到以爭功聞名的盧長官（譚耀文 飾）手下。風澤調任不久，轄區內便發生連環兇案，先後四名死者互無關聯，且兇手同樣在現場留下了頗爲刻意的線索。阿探協助風澤，在盧長官的白眼下提出了兇手的多種可能，最後初步鎖定兇手爲一名精神分裂症患者。在排查期間，嫌疑犯梁偉業（張兆輝 飾）病發劫持人質，阿探施計將其擒獲，但遺憾的發現梁並非真兇。不久，阿探被盧警官的手下恐嚇，而風澤又被人撞傷，怒不可遏的阿探找到盧警官，卻被告知這個嫌疑犯的攻擊性超出他的想象……

简介：金虎（羅維 飾）和雪裏紅（李麗華 飾）本是一對非常恩愛的情侶，不幸的是，雪裏紅遭到了馬嘯天（王元龍 飾）的玷污，迫於輿論壓力，雪裏紅不得不離開了深愛的金虎，嫁給了自己的仇人馬嘯天。　　之後，小荷花（葛蘭 飾）愛上了正直勇敢的金虎，看到自己曾經的愛人即將被人奪走，雪裏紅被嫉妒衝昏了頭腦。她遊說小荷花的父親將她嫁進大地主家做妾，但是地主的妻子並不同意這門婚事，雪裏紅只能作罷，眼睜睜的看着金虎和小荷花結爲夫妻。恨毒了小荷花的雪裏紅又和馬嘯天聯手想要陷害金虎，甚至準備了毒酒想要取金虎的性命。

简介：著名的希臘神話故事，特洛伊城的巴利斯王子，愛上了美麗非凡的海倫，並不顧一切的將她帶回了特洛伊城。誰知海倫本是巴斯達國王的愛妃，憤怒的巴斯達下令向特洛伊城發起進攻，一場殘酷的戰爭拉開了序幕。英勇的希臘士兵如潮水湧向特洛伊城，結果無功而返，慌亂中，遺留下一匹巨大的木馬。興奮的特洛伊城士兵只顧高興地慶祝着希臘士兵的撤退，對希臘的木馬卻完全視而不見。夜幕降臨了，許多全副武裝的希臘士兵悄悄地從大木馬的腹中鑽出來，向特洛伊城大舉進攻……

简介：該片講述了一個牧羊少年因目睹一起殺人案，竟被人推下懸崖。一個平民在孤獨的抗議，被當街射殺，屍體在流血，無人問津。正直的警察局長蓬納維亞早就對法律的公正喪失信心，僱兇不成，就自己充當殺手，幹掉了這一切罪惡的幕後黑手——一個名義上的地產承包商羅蒙諾。而自己在自首後，被買通的犯人在獄中殺害。

简介：伊迪斯（米婭·華希科沃斯卡 Mia Wasikowska 飾）是一名業餘恐怖小說作家，某日，她邂逅了英俊的英國發明家託馬斯（湯姆·希德勒斯頓 Tom Hiddleston 飾），後者的彬彬有禮溫文爾雅很快就吸引了伊迪斯的注意，兩人發展迅速。然而，伊迪斯的父親卡特（吉姆·比弗 Jim Beaver 飾）卻對託馬斯充滿了敵意，堅決反對女兒同他來往。　　就在這個節骨眼上，卡特意外身亡，伊迪斯毅然決定離開自己的家鄉，跟隨託馬斯來到了冰天雪地的坎布里亞郡，在這裏，矗立着一間豪華而又荒涼的別墅，人們稱它爲“猩紅山莊”。迎接伊迪斯和託馬斯的，是託馬斯的姐姐露希爾（傑西卡·查斯坦 Jessica Chastain 飾），露希爾詭異而又粗暴的態度讓伊迪斯感到十分不適。很快，伊迪斯就發現，在這座彷彿具有生命的別墅裏，飄蕩着數縷遊魂，埋藏了數不清的祕密。

简介：1950年代初，北方某城市，剛解放不久的城市百廢待興。國際上敵對勢力和國內隱藏着的特務不甘心自己的失敗，時刻準備搞破壞活動。偵察員李永和（趙聯 飾）偵察回來，偵察處長陳惠遠（印質明 飾）又給他佈置了新的任務。李永和冒雪跟蹤一名騎驢的嫌疑婦女，卻不料被一夥突然出現的匪徒捆綁，他手中的假特務證件救了自己。特務黃雲夢（李頡 飾）落網後供出：潛伏名單交給了僞裝成貨棧經理的特務崔希正（李景波 飾）。李永和以特務身份打入貨棧，從學徒那裏得知特務名單可能藏在古畫軸裏，誰知狡猾的崔希正己將名單轉移，經過一番智鬥，終於找到了名單。

简介：電影根據真人真事改編，1986年9月一架泛美航空73號班機遭到4名恐怖分子挾持劫機，年僅22歲的空姐Neerja Bhanot犧牲了她自己拯救飛機上359條乘客性命的偉大故事。

简介：當保姆凱莉·弗格森照料的孩子雅各布被怪物綁架後，她被一個保護兒童的祕密保姆組織招募，共同對抗怪物以拯救雅各布。

简介：菩薩崖是河北某革命根據地的一個村子，現在這裏成立了高級社，社裏的老飼養員田老耕，要去北京探望離別了十年的兒子——三兒。三兒在北京當了副局長，並改名爲田剛。鄉親們都趕來送行，田老耕在衆人千囑萬囑的歡笑聲中，踏上了探親之路。老耕到北京後，很不巧，兒子出差去了，兩三天趕不回來。他只好先見了兒媳趙玉書，兒媳看起來很賢慧，但對待老耕總是有些若即若離，好像有什麼說不出來的苦衷似的。當田剛從工地上趕回來時，誰想沒想到，田剛並不是三兒，卻是個陌生人。老耕責備自己找錯了，可這並沒有錯。原來田剛和三兒很早就在一個連隊裏，兩個人是親密的戰友。土改時期，土匪襲擊他們駐紮的鄉村，三兒爲了解救老百姓光榮地犧牲了。田剛忠實地按照三兒的囑託，通過組織上的允許，一直奉養着田老耕。

简介：艾瑪·麥肯(《性愛自修室》)、羅曼·杜里斯([新女友])將主演法語新片[艾菲爾鐵塔](Eiffel，暫譯)。馬丁·布爾布隆([要爸還是媽])執導。影片將圍繞艾菲爾鐵塔背後的愛情故事展開。艾瑪將飾演Adrienne Bourgès，一名與工程師居斯塔夫·埃菲爾有關的神祕、出身名門的女性。故事講述艾菲爾與弗裏德利·奧古斯特·巴特勒迪合作成功自由女神像後，他爲1889年巴黎世界博覽會設計一些引人注目的東西而倍感壓力，在尋找靈感時，他偶遇了Adrienne，他們之間禁忌的激情也爲艾菲爾鐵塔的設計帶來了靈感。該片將於8月開拍。

简介：這次原創故事的時間線定在前作結局後的一年，因此在前作中因病去世的亞希子丈夫、竹野內豐飾演的宮本良一也將再次出現。亞希子再就業的一年後，時間是2019年的秋天，亞希子在大阪，美雪在東京，兩人分居兩地。亞希子在大型諮詢公司中依然精明強幹，表現出色，絲毫看不出有10年的空窗期。而成爲大學生的美雪仍舊是惹人喜愛、我行我素。她的每天都在社團或是打工中度過，十分充實。另外，美雪和發小大樹(井之脅海)的關係依舊是老樣子。然而某天，亞希子突然回到東京，久違地來到了美雪住的公寓，宣稱自己被公司炒了魷魚。沒想到的是，亞希子在美雪家中碰見了美雪的老闆，Bakery麥田的店長(佐藤健)。他只圍着一條浴巾，剛從浴室走出來。更讓人喫驚的是，麥田懷裏還抱着一個嬰兒。就在此時美雪也回來了。莫非這個嬰兒是美雪和麥田的孩子! 完全摸不着頭腦的亞希子陷入了混亂，大喊道“這到底是怎麼一回事!

简介：特德是一個專門偷竊寶石捷汽車的團夥頭目，在一次偷車事件後，引起了警方的注意，警方於是派一個剛剛加入警隊並對汽車非常瞭解的警察本傑明，化名比爾到特德的修車廠去臥底，比爾通過在修車方面的優異表現取得了特德的信任，並與特德成了好朋友。在特德的手下馬爾科姆被殺後，警方加強了對特德的調查，而同時比爾的身份也被特德識穿。特德爲了贏得比爾，不擇手段地殺害了兩個知道比爾身份的警察，希望能讓比爾徹底回到他的身邊，比爾該怎樣面對這一切呢？

简介：天地靈氣孕育出一顆能量巨大的混元珠，元始天尊將混元珠提煉成靈珠和魔丸，靈珠投胎爲人，助周伐紂時可堪大用；而魔丸則會誕出魔王，爲禍人間。元始天尊啓動了天劫咒語，3年後天雷將會降臨，摧毀魔丸。太乙受命將靈珠託生於陳塘關李靖家的兒子哪吒身上。然而陰差陽錯，靈珠和魔丸竟然被掉包。本應是靈珠英雄的哪吒卻成了混世大魔王。調皮搗蛋頑劣不堪的哪吒卻徒有一顆做英雄的心。然而面對衆人對魔丸的誤解和即將來臨的天雷的降臨，哪吒是否命中註定會立地成魔？他將何去何從？

简介：收看地址：httpv.youku.comv_showid_XMjEwMzM0MDQw.html中國電影集團聯手優酷網共同出品，科魯茲全程支持，彙集最鮮活的青春奮鬥力量，打造11度青春電影行動。由11位當下青年導演中的翹楚執導系列電影短片，精彩不斷；1部電影長片重磅壓陣，給你好看。這是一場沒有觀衆的盛大電影，因爲每個人，都是真正的主角。《拳擊手的祕密》（張亞光導演）：他不想再看這個世界，他選擇了失明。《哎》（尹麗川導演）：兩個龍套的愛情，能否修成正果？《夕花朝拾》（莊宇新導演）：遇到57歲的自己……《東奔西遊》（李馮導演）：唐僧師徒有了夢中情人。《泡芙小姐的金魚缸》（皮三導演）：有這樣一種病，當你太在乎你的愛人的時候，你會忘記他。《江湖再見》（沈嚴導演）：因爲不能在一起，他們相約自殺……《李雷和韓梅梅》（方剛亮導演）：作爲老鄉的他和她因打錯電話而相識，但他們擁有的只是漂泊。《阿澤的夏天》（張躍東導演）：剛畢業的阿澤來到北京，但這兒沒有他的立足之地……《L.I》（張亞東導演）：深愛的他神祕失蹤，癡心的她該何去何從？《老男孩》（肖央導演）：兩個最普通的北京小人物的夢想與現實。

简介：尼諾（赫蘇斯·卡斯特羅 Jesús Castro 飾）和康比（Jesús Carroza 飾）是生活在直布羅陀巖山附近的兩個年輕的男孩，整天無所事事的尼諾靠着維修摩托艇來賺取外快。一次偶然中，尼諾結識了名叫哈里爾（Saed Chatiby 飾）的男孩，哈里爾告訴他們自己的叔叔哈西德從事着毒品交易的勾當。　　在康比的不斷勸說下，尼諾決定加入販毒的勾當。他們利用摩托艇來運送毒品，將它們從非洲賣到西班牙。赫蘇斯（路伊斯·託沙 Luis Tosar 飾）和他的搭檔伊娃（芭芭拉·藍妮 Bárbara Lennie 飾）一直在追蹤着大毒梟英格里斯的蹤跡，很快他們便發現，他們的追蹤詭計和尼諾有了巧合般的重合。

简介：Voice 1 (male professional announcer type) This neighborhood(1) was made for the wretched dignity of the petty bourgeoisie, for respectable occupations and intellectual tourism. The sedentary population of the upper floors was sheltered from the influences of the street. This neighborhood has remained the same. It was the strange setting of our story, where a systematic questioning of all the diversions and works of a society, a total critique of its idea of happiness, was expressed in acts.　　These people also scorned subjective profundity. They were interested in nothing but an adequate and concrete expression of themselves.　　Voice 2 (Debord, monotone) Human beings are not fully conscious of their real life - usually groping in the dark; overwhelmed by the consequences of their acts; at every moment groups and individuals find themselves confronted with results they have not wished.　　Voice 1 They said that oblivion was their ruling passion. They wanted to reinvent everything each day; to become the masters and possessors of their own lives.　　Just as one does not judge a man according to the conception he has of himself, one cannot judge such periods of transition according to their own consciousness; on the contrary, one must explain the consciousness through the contradictions of material life, through the conflict between social conditions and the forces of social production.　　The progress achieved in the domination of nature was not yet matched by a corresponding liberation of everyday life. Youth passed away among the various controls of resignation.　　Our camera has captured for you a few aspects of a provisional microsociety.　　The knowledge of empirical facts remains abstract and superficial as long as it is not concretized by its integration into the whole ” which alone permits the supersession of partial and abstract problems so as to arrive at their concrete essence, and implicitly at their meaning.　　This group was on the margins of the economy. It tended toward a role of pure consumption, and first of all the free consumption of its time. It thus found itself directly engaged in qualitative variations of everyday life but deprived of any means to intervene in them.　　The group ranged over a very small area. The same times brought them back to the same places. No one went to bed early. Discussion on the meaning of all this continued...　　Voice 2 Our life is a journey ” In the winter and the night. ” We seek our passage...�　　Voice 1 The abandoned literature nevertheless exerted a delaying action on new affective formulations.　　Voice 2 There was the fatigue and the cold of the morning in this much-traversed labyrinth, like an enigma that we had to resolve. It was a looking-glass reality through which we had to discover the potential richness of reality.　　On the bank of the river evening began once again; and caresses; and the importance of a world without importance. Just as the eyes have a blurred vision of many things and can see only one clearly, so the will can strive only incompletely toward diverse objects and can completely love only one at a time.　　Voice 3 (young girl) No one counted on the future. It would never be possible to be together later, or anywhere else. There would never be a greater freedom.　　Voice 1 The refusal of time and of growing old automatically limited encounters in this narrow, contingent zone, where what was lacking was felt as irreparable. The extreme precariousness of the means of getting by without working was at the root of this impatience which made excesses necessary and breaks definitive.　　Voice 2 One never really contests an organization of existence without contesting all of that organization's forms of language.　　Voice 1 When freedom is practiced in a closed circle, it fades into a dream, becomes a mere representation of itself. The ambiance of play is by nature unstable. At any moment ordinary life� can prevail once again. The geographical limitation of play is even more striking than its temporal limitation. Any game takes place within the contours of its spatial domain. Around the neighborhood, around its fleeting and threatened immobility, stretched a half-known city where people met only by chance, losing their way forever.　　The girls who found their way there, because they were legally under the control of their families until the age of eighteen, were often recaptured by the defenders of that detestable institution. They were generally confined under the guard of those creatures who among all the bad products of a bad society are the most ugly and repugnant nuns.　　What usually makes documentaries so easy to understand is the arbitrary limitation of their subject matter. They describe the atomization of social functions and the isolation of their products. One can, in contrast, envisage the entire complexity of a moment which is not resolved into a work, a moment whose movement indissolubly contains facts and values and whose meaning does not yet appear. The subject matter of the documentary would then be this confused totality.　　Voice 2 The era had arrived at a level of knowledge and technical means that made possible, and increasingly necessary, a direct construction of all aspects of a liberated affective and practical existence. The appearance of these superior means of action, still unused because of the delays in the project of liquidating the commodity economy, had already condemned aesthetic activity, whose ambitions and powers were both outdated. The decay of art and of all the values of former mores had formed our sociological background. The ruling class's monopoly over the instruments we needed to control in order to realize the collective art of our time had excluded us from a cultural production officially devoted to illustrating and repeating the past. An art film on this generation can only be a film on its absence of real creations.　　Everyone unthinkingly followed the paths learned once and for all, to their work and their home, to their predictable future. For them duty had already become a habit, and habit a duty. They did not see the deficiency of their city. They thought the deficiency of their life was natural. We wanted to break out of this conditioning, in quest of another use of the urban landscape, in quest of new passions. The atmosphere of a few places gave us intimations of the future powers of an architecture it would be necessary to create to be the support and framework for less mediocre games. We could expect nothing of anything we had not ourselves altered. The urban environment proclaimed the orders and tastes of the ruling society just as violently as the newspapers. It is man who makes the unity of the world, but man has extended himself everywhere. People can see nothing around them that is not their own image; everything speaks to them of themselves. Their very landscape is alive. There were obstacles everywhere. There was a cohesion in the obstacles of all types. They maintained the coherent reign of poverty. Everything being connected, it was necessary to change everything by a unitary struggle, or nothing. It was necessary to link up with the masses, but we were surrounded by sleep.　　Voice 3 The dictatorship of the proletariat is a desperate struggle, bloody and bloodless, violent and peaceful, military and economic, educational and administrative, against the forces and traditions of the old world.　　Voice 1 In this country it is once again the men of order who have rebelled. They have reinforced their power. They have been able to aggravate the grotesqueness of the ruling conditions according to their will. They have embellished their system with the funereal ceremonies of the past.　　Voice 2 Years, like a single instant prolonged to this point, come to an end.　　Voice 1 What was directly lived reappears frozen in the distance, fit into the tastes and illusions of an era, carried away with it.　　Voice 2 The appearance of events that we have not made, that others have made against us, now obliges us to be aware of the passage of time, its results, the transformation of our own desires into events. What differentiates the past from the present is precisely its out-of-reach objectivity; there is no more should-be; being is so consumed that it has ceased to exist. The details are already lost in the dust of time. Who was afraid of life, afraid of the night, afraid of being taken, afraid of being kept　　Voice 3 What should be abolished continues, and we continue to wear away with it. We are engulfed. We are separated. The years pass and we haven't changed anything.　　Voice 2 Once again morning in the same streets. Once again the fatigue of so many similarly passed nights. It is a walk that has lasted a long time.　　Voice 1 Really hard to drink more.　　Voice 2 Of course one might make a film of it. But even if such a film succeeds in being as fundamentally disconnected and unsatisfying as the reality it deals with, it will never be more than a re-creation ” poor and false like this botched traveling shot.　　Voice 3 There are now people who pride themselves on being authors of films, as others were authors of novels. They are even more backward than the novelists because they are unaware of the decomposition and exhaustion of individual expression in our time, ignorant of the end of the arts of passivity. They are praised for their sincerity since they dramatize, with more personal depth, the conventions of which their life consists. There is talk of the liberation of the cinema. But what does it matter to us if one more art is liberated through which Tom, Dick or Harry can joyously express their slavish sentiments The only interesting venture is the liberation of everyday life, not only in the perspectives of history but for us and right away. This entails the withering away of alienated forms of communication. The cinema, too, has to be destroyed.　　Voice 2 In the final analysis, stars are created by the need we have for them, and not by their talent or lack of talent or even by the film industry or advertising. Miserable need, dismal, anonymous life that would like to expand itself to the dimensions of cinema life. The imaginary life on the screen is the product of this real need. The star is the projection of this need.　　The images of the advertisements during the intermissions are more suited than any others for evoking an intermission of life.　　To really describe this era it would no doubt be necessary to show many other things. But what would be the point　　Better to grasp the totality of what has been done and what remains to be done than to add more ruins to the old world of the spectacle and of memories.　　1. This film, which evokes the lettrist experiences at the origin of the situationist movement, opens with shots of the Paris district frequented by the lettrists in the early 1950s.

简介：在香港的一個大公司裏，正在進行着一項非法交易：港商歐路易用一箱港幣從環球科技中心總經理馮國江和中換得了中方一張進口8000臺監視器的批文。身爲高幹子弟的馮國江干此勾當早已是輕車熟路了。然而，在這條嚴密的官倒鏈條上，有一個小小的環節出了毛病：承辦進口的深光公司經理、歐路易的表弟唐輝，在跟女祕書小蘭調情時被她的丈夫魏勤抓住了。小魏一怒之下到經濟犯罪舉報中心告發了唐輝。工作人員林亦平從他提供的蛛絲馬跡中感到這很可能是一起特大官倒案。夜晚，歐路易的中方代理人安麗小姐設宴爲馮國江接風，可她萬萬沒想到，此人竟是8年前卑劣地佔有了她導致她離開了戀人的無恥之徒。一天，林亦平在海關查證，無意中發現了他苦苦找尋了8年的安麗，林亦平的心失去了平靜。8000臺監視器在海關被林亦平扣下了，歐路易匆匆趕到大陸，令安麗想法找舉報中心的人私了，於是，安麗向林亦平發出了邀請。這對初戀的情人再次相見了，並在一起度過了一個溫馨的夜晚。當林亦平發現安麗是在利用自己最珍視的愛情做罪惡的交易時，怒不可遏地奪門而去。馮國江利用自己的身份，大走上層路線，使林亦平的調查處處受阻。一個月後，被扣留的貨竟被放行。更有甚者，馮國江竟將林與安一起過夜的事捅了出來，林亦平被迫停職檢查。安麗決心報復，她假裝與馮國江合作，用錄音機錄下了他的罪證，然後把磁帶交給了林亦平。受到愚弄的馮國江暴跳如雷。安麗厭倦了這種爾虞我詐的生活，向歐路易提出辭職。夜晚，馮國江悄悄潛入安麗的住所，企圖對她施暴，就在這時，林亦平趕到了，馮國江終於被他的正氣壓倒，頹然敗走。安麗和林亦平重新走到了一起，他們決心攜起手來與以權謀私的腐敗現象鬥爭到底。

简介：小虎曾是孟家養子，但意外導致養父過世，便離開孟家，漂泊十年後，成了走私販。他偶然救下采芹和采薇兩姐妹，更與采芹一見鍾情，可採芹正是仕龍的未婚妻。采芹既迷戀小虎，又想嫁給仕龍做上等人。采芹與仕龍成親那日，小虎欲帶采芹私奔，采芹謊稱妹妹采薇與小虎有私情，以保住自己與仕龍的婚姻。小虎爲報復采芹，與采薇成婚，婚後兩人有了感情。仕龍發現采芹纔是與小虎私情的人，對小虎產生了仇恨，以多年前一樁綁架案抓捕起訴小虎。爾後仕龍悔悟自己被憤怒矇蔽雙眼，撤銷了控訴。孟夫人也道出了小虎身世——小虎與仕龍是親兄弟。小虎與采薇終成眷屬。采芹剃度爲尼，懺悔過去。