Kiki（蔡卓妍饰）跟Kammy（钟欣桐饰）是一对好朋友，家教决定在即将来临的暑假找一个喜欢的男生。Kiki带着Kammy为爸爸的篮球赛打气，家教遇到了一个帅气的男生阿然（徐天佑饰），阿然亲了Kiki一下，Kiki便觉得自己已经喜欢上了阿然，可是阿然是个多情的人，喜欢他的女孩子很多，Kiki觉得辛苦之余又无法离开他。这边厢Kammy，kammy认识了kiki爸爸的一个朋友Danny（王杰 饰），她喜欢Danny的成熟稳重，可是Danny觉得Kammy不过是个小女孩，他冷淡的态度令Kammy伤心。好朋友间不同的感情观念使她们之间有了隔阂，好不容易才和好。Kiki也发现了原来Kammy的哥哥钟乐海（周永恒饰）早已倾心于她。
刁寒
回复 :A pianist named Garvey, while traveling on a tour, gets off the train to buy cigarettes, and learns from a salesgirl that the cities imagined by Grin really exist. Forgetting about his tour, he goes to one of these cities, where he meets the captain of The Waverunner... The famous bard Alexander Galich wrote the script to this film -one of the 1960s best motion pictures. The film features his wonderful songs as performed by Galich himself A ship was sailing from faraway Australia..., Things will straighten out, there's nothing to worry about...... In the 21st century, the cinema will be different; perhaps it's natural. And yet, it's a pity...
韩寒
回复 :李政鴻（張哲豪 飾）不甘眼盲而只能在法律事務所內被指派做文書處理的工作，他極力爭取參與訴訟，卻總是碰壁。某日，他終於接到一件民事求償訴訟，但沒想到這案子的辯護律師，竟是他法律事務所的老闆趙定邦（班鐵翔 飾）。他若幫了原告，那又該如何面對他的老闆？而更難的是，這案子不是一般的官司，它竟是件原告人數高達531人的跨國集體訴訟。李政鴻連單人官司都沒打過，又是一個盲人，他該怎麼打贏官司？
面孔
回复 :Three years after the loss of his brother Vittorio, with whom he shared his entire career, Paolo Taviani returns to the works of Luigi Pirandello, which the pair adapted in 1984 (Chaos) and 1998 (You Laugh). In keeping with the Sicilian playwright’s vision, the film is not at all what it appears to be. The title may come from a 1910 novella, but there is no trace of that book’s jealousy-riddled plot. Instead, the focus is on Pirandello himself, or rather, his ashes, which are transported from a hasty burial site in fascist Rome to a permanent resting place in Sicily, on a trek that takes us through post-war Italy and its filmed memories, as seen in newsreels, amateur films and fragments of Neorealism. Having buried the master, Leonora addio then shifts gear from road movie to film adaptation, but here it picks a different Pirandello story, namely the last one, written shortly before his death in 1936. From the farewell of the title to its return to the writer’s last words, it is hard not to read this work, so free and yet so much a part of the Taviani world, as a moving brotherly farewell which, just as in 2012’s Golden Bear winner Caesar Must Die, once again uses cinema to give voice to literature and history.
