一场洪灾让澪和儿时玩伴野江失散。父母双亡的澪流落街头，亚洲区大阪料理名店天满一兆奄的老板娘阿芳收留了澪，亚洲区而且发现澪极具料理天分。就这样，12岁的澪在天满一兆奄开始学习厨艺。不料，一场大火烧毁了店铺。澪和老板娘来到江户，在一家名为鹤屋的料理店帮忙。但最初澪的料理并没有得到客人的喜欢，相反还惹怒了客人。虽然得到老板的安慰，但是因为大阪与江户两地口味不同，澪对自己的料理水平失去了自信。在几次受挫和经由浪人小松原及永田医生的点拨和帮助后，澪悟出了大阪和江户饮食的差别，做出了改变。改良后的食物得到了肯定，但很快就被其它店铺模仿，于是澪开始思索真正属于自己的味道 。
回复 :墨西哥城高檔酒店內，年輕女傭自有心事。日復一日的漫長工作，總有打掃不盡的房間。她長途跋涉上班，無法照料年幼兒子，卻要幫客人看顧小孩。參加進修班，望能晉升到尊貴樓層。偶然拾獲紅裙，盼失物無人認領可據為己有。抹窗工人隔窗傳情，她其實更需要找到女性自我的聲音。來自劇場的阿維萊絲首拍長片即備受注目，以紀實眼光看打工女的生活與生存，發掘角色沉靜外表下的豐富情感，暗暗接通戴丹兄弟和艾方素卡朗的《羅馬》（2018）。
回复 :杰克（伊安·邦纳 Ian Bannen 饰）和麦克（大卫·凯利 David Kelly 饰）做了一辈子的朋友了，彼此之间友谊十分的坚实。两人最大的梦想，就是能够赢得乐透大奖，从此过上不劳而获的生活，可惜这个梦想离他们似乎有点远，也并不太可能通过努力来实现。一天，当乐透公司宣布了中奖号码后，杰克和麦克震惊的发现，获奖者就住在他们所在的小镇之上，然而，并没有人站出来领奖。经过了细心的排查，杰克和麦克将获奖者的目标锁定在了一个名叫奈德（Jimmy Keogh 饰）的老头身上，当他们赶到奈德家时，却发现他因为兴奋过渡已经死了。一个疯狂的念头出现在了两人的脑海里，他们决定冒充奈德的身份，领取这笔奖金。
回复 :What could the fate of the Villa Empain, Baron Empain’s crazy project in Brussels, which has gone through a long and eventful journey since its completion in 1934, possibly inspire? Katharina Kastner’s challenge was to draw the portrait of the place, keeping in mind the work of time, like in a human existence. Shot in 16mm, her film appeals to the senses, it captures the stirring of leaves undulating in the garden light, the movement of iridescent pearls, or the colourful games of a piece by Daniel Buren. Without a word, but with a caressing camera, she pays close attention to the hidden patterns on the gorgeous marbles, or to the veins in the most precious types of wood used to decorate the rooms. In slight touches, regardless of the monumental aspect of the 27.000 square-feet villa and the pool that so impressed its first visitors, Katharina Kastner o ers an organic vision of the place, which has been marked by the trials and tribulations of life, and used successively as a museum, an embassy and a squat, until its final renovation. The clever editing makes furtive connections, underlines colour associations, mixes up times and tactile sensations, while the spaces we explore keep rustling. The film takes us on a reminiscing journey, with slices of Empain’s life, from the family archive here on a holiday, there playing on the beach, images from a distant past that keep haunting the premises. The film reveals to us this living space that was designed like a piece of art, but it does so in a wandering way. This dream vision guides us through the villa like an echo of foregone fantasies, a mental space, but also a welcoming backdrop for the work of time. A bit like the fingerprint work we see in the film, or the slight touch of a pencil on a blank sheet.
