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人到中年的杨树是单身女老板唐红的私人司机，带着18岁的女儿杨树苗，青春期的她任性强硬，和杨树冲突不断。唐红一直没有结婚，虽然身边有土老板孟来财追求，但她爱着杨树，对杨树苗也关爱有加。碍于身份的考虑，正直老实的杨树一直不愿意接受唐红的爱意。在女儿设计下，杨树结识了颇像前妻的年轻女孩顾菁菁，两人互生好感。杨树就这样夹在了唐红和顾菁菁之间，一幕幕喜剧故事上演。后来，前妻的回国，让杨树放下了对前妻的执念，在与唐红的相处中杨树看清自己的感情，勇敢面对她的爱，两人最终走到一起；顾菁菁在与孟来财相识后，惺惺相惜的二人也产生真挚感情，最终四人各自情归所属。。少女藤木美奈斗（堀北真希 饰）有一个无话不谈的笔友奈特（意为“骑士”），生活中发生的大小事她都与之倾诉。在士多店打工的美奈这天遇见了男生唐泽秀（石田卓也 饰）并一见钟情。阿秀热爱摄影，却迫于医学家族的压力一直努力考取大学医学专业，两度落榜的他还在苦闷地奋斗中。阿斗将自己的倾心告诉奈特，却被奈特反对。然而阿斗这次仍然听取了自己的心意，向阿秀表白。 在二人交往的过程中，阿斗发现自己会突然消失记忆，甚至手机中存储的阿秀的照片以及号码都会不见。困惑的她怕被阿秀嫌弃，一直保守着这个秘密。随着失忆的情况发生次数越来越多，阿斗鼓励她去他父亲的医院检查。检查结果出来后，阿斗却提出了分手。 伤心的阿秀接受了这个结局，她渴望这时能见到奈特，得到奈特真人的慰藉。然而无论她如何苦等，奈特也没有出现，直到这晚，她得到一串钥匙，当她启开秘密的大门，惊讶地发现了奈特是谁。。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.。