故事发生在风光惹人醉的法国普罗旺斯。伦敦证券师麦克斯（罗素·克劳 Russell Crowe 饰）作为遗产继承人的身份来到这里，亚洲区虽然事业陷入低谷，亚洲区但过世的叔叔留下的一大片葡萄园和一幢大房子，足够他卖出后获得一笔可观的收入。他在这里住下的期间，与当地一个咖啡店女子芳妮（玛丽昂·歌迪亚 Marion Cotillard 饰）相谈甚欢。原来，童年时候芳妮曾经是麦克斯前来叔叔家时的玩伴。芳妮为麦克斯打开了一扇大门，让他重拾渐忘的往事，不再满脑子都是数字和金钱的游戏。麦克斯让心灵在这片美丽的土地上尽情呼吸，以往为名为利的生活渐渐退去。这时，叔叔的私生女（艾比·考尼什 Abbie Cornish 饰）从加州前来造访，并且有着明确的目的：得到葡萄园的继承权，麦克斯刚刚平静下来的生活是否又开始了名争暗斗，抑或在普罗旺斯这个美好的地方，美好的日子天天上演？
林承光
回复 :二战末期，溃败的德军为了扭转局势，竟然找来了一个邪恶的巫师，企图利用他召唤出地狱男爵，打败盟军。幸亏盟军的突击队在他们进行仪式时及时赶到，顺利挫败了他们的阴谋，但这时候地狱男爵——1个婴儿已经被召唤出来了，盟军见此只好收养了他。教授布鲁姆（约翰•赫特 John Hurt 饰）是地狱男爵（朗•普尔曼 Ron Perlman 饰）的养父，他用自己的善良循循教导着男爵，男爵则利用自己刀枪不入的身体和通天本领为美国政府完成了多项特种任务。然而，阴暗邪恶的本性还是一直潜藏在男爵的心底，最终人类的善良能否战胜来自地狱的邪恶？
回复 :正与情人缠绵之际，他意欲抛弃的妻女却葬身于车祸。妻女的逝世仿佛与他无关，他依旧与各色年轻女友厮混；情人的离去激不起他心中半点波澜，面对质问他只有一句“你这话是什么意思”。麻木不仁，冷漠无情，无爱又怯于流露任何感情的艾哈迈德仿佛栖息于真空之中，可他的表现竟全是因为软弱。他渐渐地对相伴多年的保姆一家流露出一丝温情，然而自身的脆弱和残酷的现实生活终于将他击垮……
普普乐团
回复 :苏利曼和“苏丹电影俱乐部”的另外三名成员决定重振一家旧电影院。他们不仅因为对电影的热爱和对恢复旧电影存量、再次关注苏丹电影历史的强烈渴望而团结在一起，而且因为他们都曾在流放中接受过电影教育。不知疲倦地，他们试图让影院老板站在他们一边，让这个地方重新运作起来，但他们一再发现自己遭到了相当大的阻力。同时，他们坐在一起谈论过去——包括他们作为对立艺术家遭受迫害甚至折磨的经历。他们还朗读流亡和梦想苏丹时写的旧信，在那里艺术和智力思想可以自由。“我们比他们聪明，但不如他们强大，”他们一致总结了他们的处境。正是在这些简洁的时刻，观众才能够感知到友谊，以及在为共同理想而斗争中存在的纽带和意识形态的团结。苏哈伊布·加斯梅尔巴里把苏丹电影的历史放在影片的中心，同时也揭示了一个受到持续危机影响的国家的现状Suliman and three further members of the ‘Sudanese Film Club’ have decided to revive an old cinema. They are united not only by their love of cinema and their passionate desire to restore old film stock and draw attention to Sudanese film history once more, but also by the fact that they have all enjoyed a film education in exile. Tirelessly, they try to get the cinema’s owners on their side and make the place operational again, but repeatedly find themselves up against considerable resistance. In the meantime, they sit together and talk about the past – including their experiences of persecution and even torture as oppositional artists. They also read out old letters written while in exile and dream of a Sudan in which art and intellectual thought can be free. ‘We are smarter than them, but not as strong,’ is how they unanimously summarise their situation. It is in laconic moments such as these that the viewer is able to perceive the friendship, as well as the bond and ideological solidarity that exists in the struggle for common ideals.Suhaib Gasmelbari puts the history of Sudanese cinema at the centre of his film and at the same time sheds light on the current situation in a country shaken by ongoing crises.
