经营公共浴池幸之汤的幸野家被迫歇业，力拔因为男主人一浩（小田切让 饰）在一年前突然下落不明。他的妻子双叶（宫泽理惠 饰）任劳任怨，力拔独自支撑着家里的大小事务，然而渐渐感到力不从心，女儿安澄（杉咲花 饰）在学校内备受欺凌，心情抑郁。经过医生检查，双叶已经到了癌症晚期，上天留给她的时间极其有限。双叶收起泪水，通过私家侦探找回了曾和其他女人同居的丈夫以及一浩的另一个女儿。她鼓励安澄坚强面对学校的磨难，以饱满的精神面对命运加诸于他们身上的一切。双叶竭尽全力为家人送去最后的温暖……宫泽理惠凭借精彩的演出赢得2017年第40届日本电影学院奖最佳女主角奖。
夏卡毛乐团
回复 :与Stefan Uher和Elo Havatta一样，Eduard Grecner也是60年代斯洛伐克新浪潮电影的缔造者之一。他的三部影片《一周七天》（1964）《尼绒月亮》（1965）和这部《徳拉克的回归》都是斯洛伐克新浪潮电影的代表作。这部叙事方法独特带有明显意识流风格的黑白影片甚至间接影响到了后来法国导演格里耶在捷克拍摄的两部影片《说谎的人》和《Eden and After》。A special place in the development of feature films is reserved for Eduard Grecner, the creator of just one good film, Dragon Returns (Drak sa vracia, 1967), titled after the nickname of the lead character. After his initial work with Uher, Grecner made his mark as a proponent of the so-called "intellectual" film, the antithesis of the sociologically, or rather, socially critical film. Grecner's great role model was Alan Resnais, a young French filmmaker who sought to introduce Slovakia to the idea of film as a labyrinth in which meanings are created not by stories, but by complex configurations of dialogue, shots, and various layers of time, thus differentiating film from both literature and theater. In Dragon Returns―the story of a solitary hero who is needed by villagers living far in the mountains, but who is rejected by them at the same time because of his detachment―Grecner brought the tradition of lyricized prose to life through a whole series of formal aesthetic techniques. Alain Robbe-Grillet immediately developed this idea in the film shot in Bratislava The Man Who Lies (Slovak: Muz, ktory luze; French title: L'homme qui ment; 1968), and perfected it in Eden and After (Eden a potom, 1970).
瑞秋
回复 :年轻的服务员欢迎他的丈夫回到南非小镇的家中，丈夫在狱中呆了四年。最初他打算重新开始，可一桩杀人事件把他重新卷入暴力之中……
旺福
回复 :民国时期，身为探长的男主角随女友去看望在达官显贵之家做仆佣的姨妈，不料却遇上豪宅内的诡异命案。血案背后的凶手，指向金枝玉叶的贵小姐、美艳风骚的二太太、精明历练的管家婆甚至是隐忍卑微的佣人……疑云重重中，一条阴森的蛇，一个无解的洞，八个命运叵测的女人，构成一部曲折离奇的悬疑推理大戏。
