简介：

　　邦纳博士计划通过更年轻、更健康的人类受害者周期性的腺移植来永生。邦纳看起来大约40岁，他真的104岁了。但是人们开始怀疑了，他可能不会到200岁。

简介：

　　

简介：

　　作文课上，安托万（Jean-Pierre Léaud 饰）在同学传来的女人图像上涂鸦，被罚站墙角。下课后，独守教室的安托万在墙上作诗宣泄自己的不满，引得老师（Guy Decomble 饰）更加愤怒。晚上，母亲（Claire Maurier 饰）因安托万没买面粉大发雷霆， 而继父（Albert Rémy 饰）则在安托万的请求下拿出一笔钱让他吃午饭。 第二天，安托万在同桌勒内（Patrick Auffay 饰）的怂恿下逃了学，跑去看电影打游戏，还在街上看到母亲跟一个安托万不认识的男人亲吻。 第三天，安托万回到学校，慌乱中谎称母亲去世，获得了老师的原谅和疼惜。不想继父获知了他逃学的事，与母亲一起赶到学校，戳穿了他的谎言，还当着全班同学打了他两耳光。 安托万决定留下一封信离家出走。可是小小年纪的他能去哪呢？巴黎那么大，法国那么大，哪里才是他的安身之处呢？

简介：

　　黄梅戏电影。
　　冯素珍（严凤英）与李兆廷（陈文明）自幼同窗共读，及长订下鸳盟，但李家被奸臣陷害一贫如洗后，这门亲事遭素珍嫌贫爱富的后母王氏（黄福影）阻挠。素珍心意不变，将兆廷相约于后花园送银百两，又赠玉麒麟一支。王氏闻风赶到，以偷盗名义将兆廷送官查办，又把素珍许配富贵人家。誓死不从的素珍逃出家门，女扮男装来到京城找寻被王氏赶出家门的哥哥少英（熊少云）。
　　素珍遍寻不着少英，却见招考皇榜，灵机一动冒兆廷之名应试，打算得到功名时将兆廷搭救，不想竟高中状元，被爱她才貌的皇上招为驸马。不知如何是好时，前科状元、八府巡按张绍民前来将她拜会，一番寒暄，她认出绍民正是哥哥，兄妹两人开始共谋脱身之计。但圣旨召素珍即刻进宫与公主（潘璟琍）完婚。洞房花烛夜，再三推辞的素珍令公主起疑，被迫吐露真相。公主震惊之余，感动于她的情义，但皇上得知后勃然大怒。

简介：

　　黑暗的年代，世道离乱，人的尊严和生命比纸还贱。拥有悲苦人生的中学生林道静（谢芳 饰）一度试图蹈海自杀，关键时刻却被来自北大的余永泽（于是之 饰）救下，从此她的人生有了曙光和转机。因不满校方对学生运动的态度，林愤而辞职，辗转来至北平见到了余永泽。几经周折与磨难，两个有情人终于走到一起。无奈随着局势的风云变幻和长时间近距离的相处，林和余二人的思想分歧越来越大，在一次集会上，林邂逅共产党人卢嘉川（康泰 饰），她从对方手中得到许多进步书籍，共产主义的先进思想也让她恍如大梦初醒一般，渐渐明了存在于世的意义，以及人生奋斗的方向。从此，林道静走上了一条极不平凡且充满危险和考验的革命之路……
　　本片根据杨沫的同名自传体长篇小说改编。

简介：

本片将18世纪书信体小说的故事搬到了现代，它把男女主角设计成一对夫妇，使他们荒淫无耻的足迹遍布巴黎及阿尔卑斯山。18世纪的法国，富有的寡妇怂恿一名恶名昭彰的浮华浪子去勾引一位年轻貌美的新婚女子，当所有的道德、禁忌完全被打破，游戏的男女主角陷入爱河，种下了悲剧的结果。

简介：

1950年代，我人民解放军海军某鱼雷快艇中队长张敏（王心刚 饰）及战友李雄（张勇手 饰）带领“九九”号快艇全体战斗员到远离大陆的岛礁“鬼屿”设伏。因为此前国民党舰队依仗自己吨位大、火力猛，经常骚扰我东南沿海。敌李舰长（刘江 饰）常以此为傲。但我海军上校（里坡 饰）和沿海军民决心以弱胜强，教训狂妄的敌海军。几天后，敌舰又来滋扰生事，我快艇中队出奇不意出现在“鬼屿”地带，敌人猝不及防赶紧撤退。但在后续的海战中，“九九”号不幸被敌炮火击中，战士们含泪与快艇告别。张敏和刘涛（王毅 饰）受伤，大家忍着伤痛和饥饿，终于飘流到一个小礁上，与同时逃到小礁上的敌军溃兵展开了激烈的战斗，最终全歼了敌人。战士们划着缴获的小舢板，向祖国的方向驶去......

简介：立志当人类历史上第一位宇航员的丹•米尔顿•普雷斯科特（比尔•艾德华斯 Bill Edwards 饰）驾驶代号Y-12的宇宙飞船前往太空，在进入外太空的一刹那，他因为过于兴奋而忽略了总部的命令，最终导致飞船失控。飞船坠入大气层，与总部失去联系。不久，国防部的人找到飞船残骸，而惹出祸端的丹却在女友处潇洒快活。　　丹的特立独行给国防部高层留下极深的印象，他们顶住各方压力，仍然决定派遣丹驾驶Y-13再次前往太空。当达到600’000尺的高度时，丹的老毛病再次复发。他不顾总部的命令，直线冲入外太空。结果飞船失控，受到宇宙粉尘袭击，最终爆炸。国防部找到飞船遗骸，却未见到丹的身影。随后不久，一个恐怖嗜血的生物开始在城市中出没……

简介：Voice 1 (male professional announcer type) This neighborhood(1) was made for the wretched dignity of the petty bourgeoisie, for respectable occupations and intellectual tourism. The sedentary population of the upper floors was sheltered from the influences of the street. This neighborhood has remained the same. It was the strange setting of our story, where a systematic questioning of all the diversions and works of a society, a total critique of its idea of happiness, was expressed in acts.　　These people also scorned subjective profundity. They were interested in nothing but an adequate and concrete expression of themselves.　　Voice 2 (Debord, monotone) Human beings are not fully conscious of their real life - usually groping in the dark; overwhelmed by the consequences of their acts; at every moment groups and individuals find themselves confronted with results they have not wished.　　Voice 1 They said that oblivion was their ruling passion. They wanted to reinvent everything each day; to become the masters and possessors of their own lives.　　Just as one does not judge a man according to the conception he has of himself, one cannot judge such periods of transition according to their own consciousness; on the contrary, one must explain the consciousness through the contradictions of material life, through the conflict between social conditions and the forces of social production.　　The progress achieved in the domination of nature was not yet matched by a corresponding liberation of everyday life. Youth passed away among the various controls of resignation.　　Our camera has captured for you a few aspects of a provisional microsociety.　　The knowledge of empirical facts remains abstract and superficial as long as it is not concretized by its integration into the whole ” which alone permits the supersession of partial and abstract problems so as to arrive at their concrete essence, and implicitly at their meaning.　　This group was on the margins of the economy. It tended toward a role of pure consumption, and first of all the free consumption of its time. It thus found itself directly engaged in qualitative variations of everyday life but deprived of any means to intervene in them.　　The group ranged over a very small area. The same times brought them back to the same places. No one went to bed early. Discussion on the meaning of all this continued...　　Voice 2 Our life is a journey ” In the winter and the night. ” We seek our passage...�　　Voice 1 The abandoned literature nevertheless exerted a delaying action on new affective formulations.　　Voice 2 There was the fatigue and the cold of the morning in this much-traversed labyrinth, like an enigma that we had to resolve. It was a looking-glass reality through which we had to discover the potential richness of reality.　　On the bank of the river evening began once again; and caresses; and the importance of a world without importance. Just as the eyes have a blurred vision of many things and can see only one clearly, so the will can strive only incompletely toward diverse objects and can completely love only one at a time.　　Voice 3 (young girl) No one counted on the future. It would never be possible to be together later, or anywhere else. There would never be a greater freedom.　　Voice 1 The refusal of time and of growing old automatically limited encounters in this narrow, contingent zone, where what was lacking was felt as irreparable. The extreme precariousness of the means of getting by without working was at the root of this impatience which made excesses necessary and breaks definitive.　　Voice 2 One never really contests an organization of existence without contesting all of that organization's forms of language.　　Voice 1 When freedom is practiced in a closed circle, it fades into a dream, becomes a mere representation of itself. The ambiance of play is by nature unstable. At any moment ordinary life� can prevail once again. The geographical limitation of play is even more striking than its temporal limitation. Any game takes place within the contours of its spatial domain. Around the neighborhood, around its fleeting and threatened immobility, stretched a half-known city where people met only by chance, losing their way forever.　　The girls who found their way there, because they were legally under the control of their families until the age of eighteen, were often recaptured by the defenders of that detestable institution. They were generally confined under the guard of those creatures who among all the bad products of a bad society are the most ugly and repugnant nuns.　　What usually makes documentaries so easy to understand is the arbitrary limitation of their subject matter. They describe the atomization of social functions and the isolation of their products. One can, in contrast, envisage the entire complexity of a moment which is not resolved into a work, a moment whose movement indissolubly contains facts and values and whose meaning does not yet appear. The subject matter of the documentary would then be this confused totality.　　Voice 2 The era had arrived at a level of knowledge and technical means that made possible, and increasingly necessary, a direct construction of all aspects of a liberated affective and practical existence. The appearance of these superior means of action, still unused because of the delays in the project of liquidating the commodity economy, had already condemned aesthetic activity, whose ambitions and powers were both outdated. The decay of art and of all the values of former mores had formed our sociological background. The ruling class's monopoly over the instruments we needed to control in order to realize the collective art of our time had excluded us from a cultural production officially devoted to illustrating and repeating the past. An art film on this generation can only be a film on its absence of real creations.　　Everyone unthinkingly followed the paths learned once and for all, to their work and their home, to their predictable future. For them duty had already become a habit, and habit a duty. They did not see the deficiency of their city. They thought the deficiency of their life was natural. We wanted to break out of this conditioning, in quest of another use of the urban landscape, in quest of new passions. The atmosphere of a few places gave us intimations of the future powers of an architecture it would be necessary to create to be the support and framework for less mediocre games. We could expect nothing of anything we had not ourselves altered. The urban environment proclaimed the orders and tastes of the ruling society just as violently as the newspapers. It is man who makes the unity of the world, but man has extended himself everywhere. People can see nothing around them that is not their own image; everything speaks to them of themselves. Their very landscape is alive. There were obstacles everywhere. There was a cohesion in the obstacles of all types. They maintained the coherent reign of poverty. Everything being connected, it was necessary to change everything by a unitary struggle, or nothing. It was necessary to link up with the masses, but we were surrounded by sleep.　　Voice 3 The dictatorship of the proletariat is a desperate struggle, bloody and bloodless, violent and peaceful, military and economic, educational and administrative, against the forces and traditions of the old world.　　Voice 1 In this country it is once again the men of order who have rebelled. They have reinforced their power. They have been able to aggravate the grotesqueness of the ruling conditions according to their will. They have embellished their system with the funereal ceremonies of the past.　　Voice 2 Years, like a single instant prolonged to this point, come to an end.　　Voice 1 What was directly lived reappears frozen in the distance, fit into the tastes and illusions of an era, carried away with it.　　Voice 2 The appearance of events that we have not made, that others have made against us, now obliges us to be aware of the passage of time, its results, the transformation of our own desires into events. What differentiates the past from the present is precisely its out-of-reach objectivity; there is no more should-be; being is so consumed that it has ceased to exist. The details are already lost in the dust of time. Who was afraid of life, afraid of the night, afraid of being taken, afraid of being kept　　Voice 3 What should be abolished continues, and we continue to wear away with it. We are engulfed. We are separated. The years pass and we haven't changed anything.　　Voice 2 Once again morning in the same streets. Once again the fatigue of so many similarly passed nights. It is a walk that has lasted a long time.　　Voice 1 Really hard to drink more.　　Voice 2 Of course one might make a film of it. But even if such a film succeeds in being as fundamentally disconnected and unsatisfying as the reality it deals with, it will never be more than a re-creation ” poor and false like this botched traveling shot.　　Voice 3 There are now people who pride themselves on being authors of films, as others were authors of novels. They are even more backward than the novelists because they are unaware of the decomposition and exhaustion of individual expression in our time, ignorant of the end of the arts of passivity. They are praised for their sincerity since they dramatize, with more personal depth, the conventions of which their life consists. There is talk of the liberation of the cinema. But what does it matter to us if one more art is liberated through which Tom, Dick or Harry can joyously express their slavish sentiments The only interesting venture is the liberation of everyday life, not only in the perspectives of history but for us and right away. This entails the withering away of alienated forms of communication. The cinema, too, has to be destroyed.　　Voice 2 In the final analysis, stars are created by the need we have for them, and not by their talent or lack of talent or even by the film industry or advertising. Miserable need, dismal, anonymous life that would like to expand itself to the dimensions of cinema life. The imaginary life on the screen is the product of this real need. The star is the projection of this need.　　The images of the advertisements during the intermissions are more suited than any others for evoking an intermission of life.　　To really describe this era it would no doubt be necessary to show many other things. But what would be the point　　Better to grasp the totality of what has been done and what remains to be done than to add more ruins to the old world of the spectacle and of memories.　　1. This film, which evokes the lettrist experiences at the origin of the situationist movement, opens with shots of the Paris district frequented by the lettrists in the early 1950s.

简介：本片是阿普三部曲（大路之歌、不屈者、阿普的世界），第一部是与生长的地方的联系，第二部是与父母的联系(在第二部里，阿普的父母相继弃他而去)，第三部是与爱人和孩子的联系。全片最突出的地方，是以一位不满十岁的少年的视线界来观赏人类与大自然生活的共通性。　　“阿普三部曲”奠定了萨雅吉雷在印度电影发展史上崇高艺术地位。 萨雅吉雷的电影是很难定位他的电影类别及风格。但可确定的是他的电影是印度传世经典之作，具有文学艺术价值，他具有普世价值的电影故事，永远深值人心。　　日本名导演黑泽明(Akira Kurosawa)对.萨雅吉雷有极中肯的评价：如果我们泠静深沈的观察，了解人类对爱的演进，在萨雅吉雷的电影中你必有所感动和共呜，.萨雅吉雷电影是电影工业的指标。　　印度电影大师萨蒂亚吉特·雷伊的《阿普三部曲》，曾荣获戛纳电影节最佳人文纪录片奖。三部电影每一部都自成佳作，它们以朴素、强烈的感情和视觉上的独特美感给人以心灵上的震撼，从而确立了Ray在世界顶尖导演中的地位。

简介：1930年代，动荡的芝加哥时常被强盗集团骚扰。乔（托尼•柯蒂斯）和杰利（杰克•莱蒙）本是乐团成员，两人因偶然目睹盗匪史巴克的手下在车库内射杀告密者而被穷追不舍。走投无路之下，他们男扮女装加入一女性乐团，并随该团来到迈阿密。 　　该团中有位名叫秀珈（玛丽莲•梦露）的异常美丽性感女郎，乔晓得她一心想钓有钱人时，便化身石油王的公子企图得到她的芳心；另一面，杰利也对秀珈情有独钟，可是他却得到一位不知他是男儿身的富翁的不断纠缠，笑话迭生。不久，乔和杰利又遇史巴克一伙，只得再次逃亡，场面更加逗笑。

简介：1930年，在列强统治瓜分的大都会旧上海。为了追寻音乐的梦想，年轻人聂守信（赵丹 饰）告别故乡云南来到上海求学，为了生计，他干着最底层的工作，但是随着国民党反动派压迫的日益加深，守信失业，沦落到某歌舞班担任琴师。此时的他虽然讨厌这种燕语莺声的靡靡之音，可是又不知道未来前进的方向。旧日同学郑雷电的棒喝似乎让他猛然警醒，开始审视自己的音乐人生。在此之后，他接触到地下工作者，初步找到人生的意义。1932，“一•二八”事变爆发，守信和伙伴们为战士唱响了高亢奋进的《马赛曲》。老艺术家的建议让他铭记于心，面对江河破败、百姓离乱、民族危亡的现状，他暗下决心，一定要创作一首中国的《马赛曲》……

简介：甘肃省某县，这里天旱少雨，但奔腾呼啸的黄河从两山之间流过，人们却无法用这滚滚东流水去灌溉田地。魏民从部队转业回来后，在县水利科当了干部。他和青年农民丁俊才勘测出一条道路，决定利用地形和水的压力，在黄河南岸挖一条渠，引水到横跨黄河上的渡槽，浇灌北岸的土地。这个计划虽然遭到一些人的反对，但在县委书记的支持下，终于开工。要开工，就要在鸟飞不过、人无立足之地的峭壁上挖出一条渠道。县委书记和魏民贴出红榜，广招天下英雄好汉，人们纷纷前来揭榜。最终，非受益区的代表丁俊才揭去了红榜。魏民采取了边施工边设计的方法，依靠群众力量，用土办法解决了许多难题。黄河流域暴雨来临，河水猛涨，人们在大风雨中忘我劳动，决心创造出奇迹。在挖渠炸石头的过程中，丁俊才点燃了导火线后，向上爬去，不料刚爬到半山腰，安全绳索被磨断了，炸药马上就要爆炸，丁俊才翻身跳入水流湍急的黄河之中，一声巨响硝烟四起，无数碎石随之而下。经过艰苦的劳动，引黄河水浇灌农田的工程终于胜利完工，人们在劳动中不但受到了思想和灵魂的洗礼，更感受到了与天奋斗的自豪和光荣。

简介：《飞越天险》讲述解放初，人民空军以缴获的旧飞机试航北京——拉萨。先遣队气象组因冰山崩裂，困于山中。党派飞行员赵忠凯等二人前往营救，并结合航线的开辟。经过三次飞行，终于救出同志，飞越天险。

简介：1947年，福建闽江轮船公司“福州号 ”司机、共产党员林森官，以帮助船长装运私货作掩护，开辟了为游击队运送武器的地下航线。一次，森官奉命运送一批武器，特务李伯光到处搜索。深夜，藏在船顶货物堆里的枪支终被李伯光发现。这时早在暗中注视的森官，趁其不备，将他打落江心。老舵工阿旺忽见有人落水，大声惊呼，但当他看到森官正从船顶徐步下来，便不再作声。敌人将阿旺扣押，进行拷打、盘查，又利用阿旺信奉天主教，指使神父逼他供出真情。森官闻讯，正要赶往教堂打听消息，中途却被一伙特务带入一家酒楼。李伯光突然在他面前出现，原来李伯光落水未死，更加深了对森官的怀疑，正在等待阿旺的口供将森官治罪。阿旺坚不吐露真情，敌人的诡计终未得逞。 森官又接受了运送一批武器的任务。特务头子王勋亲率敌兵分乘两轮尾随督航。当“福州号”驶近罗汉滩时，游击队化装的保安队迫令停航，将武器卸运上岸。敌轮发现有异，向游击队猛烈射击。此时，被迫在一艘敌轮司舵的阿旺当机立断，开足马力，向另一艘敌轮猛冲过去。一声巨响，两船俱焚。阿旺壮烈牺牲，保住了地下航线。

简介：描写被志愿军从虎口抢救下来的朝妇女金大嫂，舍身救志愿军的英勇故事。

简介：本片将18世纪书信体小说的故事搬到了现代，它把男女主角设计成一对夫妇，使他们荒诞无耻的足迹遍布巴黎及阿尔卑斯山。18世纪的法国，富有的寡妇怂恿一名恶名昭彰的浮华浪子去引诱一位年轻貌美的新婚女子，当所有的道德、禁忌完全被打破，游戏的男女主角陷入爱河，种下了悲剧的结果。

简介：长征途中，在前有堵截后有追兵的行军路上，红一方面军来到大渡河渡口，对岸有天险挡路，背后有大量敌人追兵，命悬一线。红军冲破重重险关，穷尽各种方法，终于抢占泸定桥，使我主力部队全线渡河，向雪山挺进。六月的夹金山，夏天飞雪，山上山下两重天，不少战士永远的躺在了长征路上。到了1935年8月，我红一和红四方面军会师。此时，部队非战斗减员严重。在大渡河战斗中受伤的指导员李有国（蓝马 饰）伤势严重，不能行军，房东老大爷将仅有的一匹马送给了红军。此时，衣衫褴褛的红军连草根树皮都吃净了，首长下令杀马给战士们吃，因为曙光就在前头……

简介：

　　警察马天民（仲星火 饰）是一个正直热心的小伙子，这日恰逢他休息，派出所所长夫人想着这小伙子为人不错，趁他休息帮他介绍了一个对象，她的同事刘萍。所长闻知此事，马上跑去找到了天民将这件事告诉了他，并让他和人家约会一下。天民乐得合不拢嘴，和刘萍约定了约会的时间。岂料当他一次又一次准备赴约时，却总有这样那样的人需要他帮助或事情需要他解决。虽然天民是休假时间，而且赶着去赴约，但热心助人的他总是一次次选择了帮助他人。于是，一个个都约会都错过了，天民还能赢得美人归吗？

简介：

1958年，我军炮击金门，盘距金门的蒋匪军开炮还击，战士王志强（赵汝平 饰）在反击敌运输舰中，全身80%被严重烧伤，生命垂危。英雄的事迹感动了身边每个人，大家自发赶到医院献血，医院领导研究布置抢救方案，通过一段时间的精心护理，王志强终于脱离了生命危险。他醒来的第一句话是“我要到阵地上去”，医护人员被感动的热泪盈眶。由于感染，需要大量植皮，消息传开，要求捐献皮肤的志愿者来了几百人。手治好了，绿脓杆菌又向身体其它方向漫延，如不及时控制，则引发败血症，后果不堪设想。英雄的病痛惊动了北京，总部用飞机送来了急需的药品，也送来了全国人民的关怀......

简介：

罗杰（加里·格兰特 Cary Grant 饰）是个平凡的广告商人，最近却莫名其妙的惹了一身的麻烦——他被别人错认成一名叫“凯普林”的人，还被人灌醉放进车中，意图造成车毁人亡，命大的罗杰却顺利逃过这一劫。这个离奇的经历让罗杰又后怕又好奇，为了证明自己的清白，他非要找出真正的 “凯普林”不可。                                                                      　　噩运在纠缠罗杰。他一路设法摆脱追杀，一边千里追踪凯普林的线索。他跳上了一趟开往芝加哥的列车，车上巧遇娇娃坎多（爱娃·玛丽·森特 Eva Marie Saint 饰），愿意助他一臂之力。眼看就快可以约见凯普林，事情却又起了波澜——他不但没有见到凯普林，还随之陷入了又一场危机当中。真相越来越扑朔迷离，拉什莫山的总统雕像，也成了一场生死搏斗的大舞台。

简介：

《修女传》由四度夺得奥斯卡金像奖的导演弗雷德·金尼曼执导，是奥黛莉·赫本的代表作之一，曾荣膺奥斯卡最佳影片等八项提名。                                                                      　　女主角嘉比雅（奥黛丽·赫本 Audrey Hepburn 饰）投身修道院，学习教会的戒律变成璐克修女。其后被送到医学院学习当护士，毕业后派到非洲的比属刚果服务。在那儿她认识了无神论的医生福图纳提，引起了她对宗教信仰的质疑。不久璐克生病，病后被送回比利时，当时正值二次世界大战爆发，医院旁炮声隆隆，修女们却不顾个人安危继续工作。比利时沦陷后，璐克参加了敌后工作，爱心使她无法保持修道者的沉默和自制。当她听到父亲被杀害的消息时，撤去了她修女的誓愿，请求还俗退出了修道院。

简介：

影片取材于Melissa Muller出版的《Anne Frank》，这本日记已经被翻译成五十五种文字，销售二千四百万册，成为仅次于圣经的一本最畅销的读物。                                                                      　　日记记录时间从1942年6月12日到1944年8月1日。在被纳粹占领的荷兰阿姆斯特丹，因犹太人受到的迫害日渐严重 ，Otto Frank携一家隐藏在一个调味品生产工厂的阁楼上。后又商人Kraler和Miep，以及另外一家人Van Daan和牙医Dussel也来此处隐藏。几家人住在一起等待盟军解放荷兰。从1942年到1944两年间，Anne Frank （米莉·佩金斯 Millie Perkins 饰）开始记日记。在这2年多的时间里，里面记载了她的感受，她的恐惧和隐藏人员间的关系。后因有人告发，纳粹士兵把隐藏在此的人统统送入了集中营，Frank一家除了Otto Frank没有逃离厄运。

简介：

高占武（李亚林 饰）和曹茂林（梁音 饰）不忍看见家乡饱受缺水之苦，提议劈山引水，消息一经传开，就遭到了个性保守的老社长的反对，思想开放的乡党委赵书记明白这是义举，决定使出全力支持。在工作中，曹茂林遇见了回乡女青年孔淑贞（金迪 饰），坠入了情网，他请能言善辩的高占武替自己想孔淑贞表白，没想到遭到了后者无情的拒绝。实际上，高占武也默默的爱慕着孔淑贞，只是他选择将这份感情深深的埋藏在心底。                                                                      　　一场意外中，孔淑贞身陷险境，所幸得到了高占武的帮助才捡回了一条命，就此之后，高占武在孔淑贞的眼中变得不一般起来。虽然开山行动中遭遇了诸多不顺和意外，但最终，汩汩的山泉还是滋润了村庄里干涸的土地。