电影以“五彩呼伦贝尔合唱团”为背景，沉睡描写现代都市富有的一对母女来到大草原，沉睡遇到蒙古族老奶奶，整个的人生观因此改变的故事。尚于（杨采妮 饰），某外企经理。深信经济发达，是幸福奔向的唯一途径。初次婚姻失败，但习于以强悍为容的她，在他人面前极少流露柔情。面对金融海啸，她被委 派到呼伦贝尔，以考察为名，不择手段，也要找到合理原因，取消欠商业价值的文化项目。在这荒芜之乡，她吹毛求疵的性格令她痛苦不 堪，但女儿丁雨泽（林妙可 饰）从小朋友身上找回自已，发现了她的天堂，也与蒙古老奶奶红婆婆（刘晓庆 饰）建立了感情。母亲渐渐发觉自已多不了解女儿，却无意间听到小泽的歌声。在歌声里，听到截然不同的另一个小泽的形象：勇敢、奔放、快乐、自信。这天，小泽为救小羊而迷路，风雨交加，她躲在山岩下。红婆婆返回寻找小泽。在互相对唱的歌声里，红婆婆终于找到了已浑身湿透的小泽。尚于见红婆婆搂着发烧门小泽轻声吟唱着，被红婆婆和孩子们纯朴的歌声打动，在音乐中，她看清前面的人生道路，和自己的缺点，找回了自己久失的那份本真与快乐……
回复 :赵胜天与李小兰两人偶然相遇，但两人在接触不久便闪电般的结合在一起，不久，李小兰怀孕，两家父母草率地为他们举行了婚礼。孩子出世后，胜天与小兰陷入了一片忙乱之中，小兰的心情极为烦躁，赵也觉得婚姻使他失去了男子汉的潇洒，两人为了一点小事大吵一架之后，小兰回到了娘家。胜天因为牵涉到挪用公款的事被抓进了监狱，小兰得到消息赶回家，发现了胜天写给他的许多信，备受感动。胜天出狱后，两人重归于好。
黄龄
回复 :老港、骡子和东一是有着几十年感情的好兄弟。老港作为“大哥大”一直“罩着”菜市场的众摊贩，然而新老板的到来让他的地位受到冲击。东一与妻子凤来原本感情和美，但是老港与骡子阴差阳错地怀疑凤来出轨，二人出于兄弟义气暗中跟踪调查。老港能否重拾“菜场一哥”的尊严？东一和凤来的婚姻又能否经历住重重考验？三位东北老炮儿集结，上演了一出有情有义、有笑有泪的故事。
回复 :Whenever I see La Paura I think of it as a companion piece to Eyes Wide Shut, or maybe it is the other way around. Adultery makes both films tick but in different ways. I think Phillip French was right on the money when he pointed out a Wizard of Oz thing in Kubrick's last work. Like Dorothy, Tom and Nicole go through fantasies and nightmares and at the end Dorothy's reassuring childish motto "there's no place like home" is ironically updated to the adult circumstantial adage "there's no sex like marital sex". Kubrick's take is intellectual, he never leaves the world of ideas to touch the ground. He taunts the audience first with an erotic movie and then with a thriller and refuses to deliver either of them. He was married to his third wife for 40 years, until he died. Rossellini was still married to Ingrid Bergman when he directed La Paura; they had been adulterous lovers and their infidelity widely criticized La Paura is a tale, a noirish one. The noir intrigue is solved and the tale has a happy ending. The city is noir; the country is tale, the territory where childhood is possible. The transition is operated in the most regular way: by car, a long-held shot taken from the front of the car as it rides into the road, as if we were entering a different dimension. Irene (Bergman) starts the movie: we just see a dark city landscape but her voice-over narration tells us of her angst and informs us that the story is a flashback, hers. Bergman's been cheating on her husband. At first guilt is just psychological torture but soon expands into economic blackmail and then grows into something else. From beginning to end the movie focuses on what Bergman feels, every other character is there to make her feel something. Only when the director gives away the plot before the main character can find out does he want us to feel something Bergman still can't. When she finds out, we have already experienced the warped mechanics of the situation and we may focus once again on the emotional impact it has on Bergman's Irene. In La Paura treasons are not imagined but real, nightmares are deliberate and the couple's venom suppurates in bitter ways. Needless to say, Ingrid has another of her rough rides in the movies but Rossellini doesn't dare put her away as he did in Europa 51, nor does he abandon her to the inscrutable impassivity of nature (Stromboli). His gift is less transcendent and fragile than the conclusion of Viaggio in Italia. He just gives his wife as much of a fairy tale ending as a real woman can have, a human landscape where she can finally feel at home. Back to the country, a half lit interior scene where shadows suggest the comfort of sleep. After all, it's the "fairy godmother" who speaks the last words in the movie.
