一场三十年未遇的特大狂风暴雨，亚拍区冲垮了连通城乡的一座乡村土桥，亚拍区导致城乡运输的中断，农民李光明（巩汉林 饰）开的拖拉机翻了车，摔伤了五个男人，他一下子变成穷光蛋，欠债18万，逃离村庄来到城里打工，不料，他无缘无故的卷进了一场“绑架”事件，救出了农民出身的金穗集团董事长田大发 （巩汉林 饰），田大发为了安全，高薪聘请了和自己一模一样的李光明做替身，代替自己出席各种社交场合，从而发生了一系列啼笑皆非而深情感人的情节，田大发不断遇到麻烦，却由替身李光明为他意外的一一化解，从中大爆笑料。而李光明无奈被推向各种矛盾错综复杂的场合，却因他农民朴实的性格一一化险为夷，从而获得了田大发的奖励，他终于挣到了18万，还清了债务。原来绑架田大发的是他的妻子田太太，因关心丈夫的身体早已亮出红灯，出于无奈叫自己的亲友绑架田大发，爱的语言已经表达，被冲垮的乡村土桥也已修成连接城乡的“新城乡大桥”，影片在城乡一体化的美好远景的乐声中结束。
回复 :一位事业平凡的单身父亲吴所为，试着和儿子吴喆好好相处，却屡遭失败，竟然因为一次车祸导致灵魂互换，从而懂得了换位思考，父子俩人终于找到了沟通和相处的方式
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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.
回复 :该影片讲述的是江彩霞在毕业之际，和好友海琳为能够留在北京四处奔忙着，但是不是月薪太少，就是工作和专业不对口。离开学校走入社会的这些年轻人，顿时感觉到了社会的残忍。彩霞觉得好友见利忘义，男友不理解自己，于是彩霞赌气回到老家河北，本来打算回家看望一下父母，然后再回到北京。可是没想到，她这一回，竟然改变了她的人生轨迹。新浪网独家稿件，转载请注明出处。
