簡(jiǎn)介：這是一部人和智能手機(jī)的故事。故事發(fā)生在一個(gè)夜晚、一臺(tái)車(chē)內(nèi)，是由一個(gè)演員支撐全片的獨(dú)角戲：離婚后的老吳為打發(fā)時(shí)間成了一名“網(wǎng)約車(chē)”司機(jī)，這天晚上意外在車(chē)上撿到一部智能手機(jī)，誰(shuí)知在歸還手機(jī)的路上，這部手機(jī)又此起彼伏的響起，為了查清手機(jī)真正的主人，老吳幾乎不費(fèi)吹灰之力便利用手機(jī)的“智能”將手機(jī)主人變成了一個(gè)毫無(wú)隱私的透明人，同時(shí)在這個(gè)過(guò)程中他也終于醒悟了自己離婚的真相。

簡(jiǎn)介：作家兼教師艾瑞斯（娜奧米·沃茨飾）原本在紐約過(guò)著安穩(wěn)而獨(dú)居的生活，但當(dāng)她最親密的朋友兼導(dǎo)師（比爾·默瑞飾）突然去世，并將他心愛(ài)的150磅重的大丹犬留給她時(shí)，她的生活被徹底打亂了。這只高貴卻難以馴服的巨獸——阿波羅，不僅帶來(lái)了諸多現(xiàn)實(shí)問(wèn)題，比如家具被毀、房東的驅(qū)逐通知，還引發(fā)了更深層的困擾：它龐大的身影不斷提醒艾瑞斯，她的朋友在生前和死后都做出過(guò)許多充滿問(wèn)題的選擇。然而，隨著艾瑞斯與這只狗意外地建立起深厚的情感聯(lián)系，她也逐漸學(xué)會(huì)直面自己的過(guò)去，接受失去朋友的事實(shí)，并重新發(fā)現(xiàn)自己內(nèi)在的創(chuàng)造力。

簡(jiǎn)介：Lesbian couple Sun-woo and Hee-suh buy a small apartment, which they’ve put everything for. But when Sun-woo loses her job and injures her leg, their relationship begins to sour while Hee-suh is sorely responsible for paying the mortgage and interest. Their stress level reaches a fever pitch when a foul odor starts to emanate from downstairs.

簡(jiǎn)介：Helen's mundane life at the chicken factory takes an unexpected turn with Joanne's return. They were each other's secret teenage passion. As they fall in love, Helen's zest for life returns but Joanne faces something darker from her past.                                                                    　　Pugh’s musical drama takes off in a chicken factory in industrial north Wales, set to songs from the 1960s and 70s. The debut feature follows a woman stuck in a rut, played by Louise Brealey. Annabel Scholey, Sorcha Cusack, Celyn Jones and Emily Fairn also star. Anne Beresford and Andrew Gillman are producing through Artemisia Films, alongside Adam Partridge of Delta Pictures and Peggy Cafferty of Play House Studios. It is funded by the BFI and Ffilm Cymru Wales, both awarding National Lottery funding, and BBC Film.

簡(jiǎn)介：五名好友同游希臘，但是其中一人的伴侶被眾人懷疑可能是個(gè)臭名昭著的騙子，這趟旅行也隨之演變成一個(gè)爆笑的偵探故事。

簡(jiǎn)介：Pietro is a middle-aged man with a great pain behind him: the death of his wife which left him alone with their daughter. He didn't have time to grieve because he had to take care of her, raising her with love and dedication in an all-encompassing relationship.                                                                    　　When, after a few years, he tries to start a new life with a new partner, his daughter's reaction will be explosive and Pietro will be put to the test. He will find himself struggling between anger and paternal instinct: how much can he forgive her? How much stronger is love than reason?