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10年前，卡车司机林科隆·豪克（西尔维斯特·史泰龙 Sylvester Stallone 饰）抛弃妻儿，选择四处流浪的生活。随着岁月的流逝和阅历的积累，他渐渐体味到家庭的重要，其对妻儿的思念也越来越强烈。某个夏天，豪客的儿子麦克·卡特勒（David Mendenhall 饰）即将迎来暑假，而他的妈妈克莉丝提娜（苏珊·布拉克利 Susan Blakely 饰）则因病入院。受到妻子的委托，豪克来到儿子所在的学校，与麦克完成10年来的首次会面。由于外公杰森（罗伯特·劳吉亚 Robert Loggia 饰）长久以来对父亲的妖魔化描述，麦克对突然出现的父亲颇为冷淡，甚至充满敌意。豪克充满歉意，一心想要修复父子俩的情感裂痕。另一方面，克莉丝提娜病情不断加重，专横的杰森决不允许豪克接触外孙。为了赢回失落的亲情，豪克决定不惜一切代价……

Yoo-ra suffers from nightmares every night. One day she meets her high school friends. Jin-tae is a promising artist, In-seok is a chaebol and former thug, Hye-jin likes In-seok, and Seong-ho, who used to be In-seok's errand boy, finally meet up. Yoo-ra asks her friends if they remember the classmate that killed herself. Everyone is flustered and claims they don't.Yoo-ra goes to the bathroom, but passes out after seeing herself in the mirror. Everyone gets in In-seok's car to send Yoo-ra home, but they get into an accident and all become unconscious. When they wake up, they are at a familiar school that's closed. It was the school they went to that has closed down.Why did they end up there? Yoo-ra and her friends tremble in fear for their lives...

90年代，东印度公司首席大班布华泉（郭富城 饰）年仅40岁，已经功成名就，经常出入上流社会。工作上，老板很赏识他的才干。不过在生活上，他却面临两个女人的感情纠结：一个是妻子阿娣（杨采妮 饰），另一个是助理Fion（刘心悠 饰）。然而最令他痛苦的是自己的身世。40年前 ，因为一次海啸，泉妈（何超仪/鲍起静 饰）的船遭遇不测，只领回了一个混血婴孩，那便是阿泉。从此，阿泉跟泉妈出海捕鱼，并与下人的幼女缔结了纯洁的友谊。后者童言无忌，谈到他的身世总是遭遇暴打。两小无猜的他们，最终因为一次意外而分离。阿泉的学习很刻苦，但是却与泉爸的关系很紧张。直到工作后，他才慢慢与父亲和解。身世始终困扰着阿泉，即使在外籍的船上，他也难以获得认同。后来，因为家道中落，泉爸离世，泉带着他们一干兄弟姐妹，如逃难般寻找救济，甚至不惜向刁蛮的船主妥协。最终，他了解到自己被收养的身世，这令他的人生发生了巨大的转变……

Passages from James Joyce's Finnegans Wake 1965 16mm film 90minsThis was the first attempt to cinematize the works of Irish author James Joyce. Based more on a stage adaptation by Mary Manning than the Joyce novel itself, the film concentrates on Dublin pubkeeper Finnegan (Martin J. Kelly), who while in the throes of inebriation has a vision of his own death. As the bemused Finnegan lies in his coffin, his friends gather for his wake. The "corpse" tries to cut through the keening and platitudes by probing the innermost thoughts of those closest to him. The surprising aspect of this film is that so much of its difficult text works on screen--a tribute to the loving care of scripter/director/ editor Mary Ellen Bute, who, while preparing this film spent her waking hours picking the brains and burrowing through the resource materials of the James Joyce Society.Although director Mary Ellen Bute’s highly regarded Finnegans Wake (aka Passages from Finnegans Wake) is a unique film that is likely to baffle anyone unfamiliar with James Joyce, it cannot be dismissed merely as a literary exercise. The director was right in claiming that her film was “not a translation of the book but a reaction to it”. It is actually based on a stage play by Mary Manning, who was also responsible for the screenplay. Joyce’s elliptical rhetoric and intricate punning, which might be considered a formidable barrier to the filming of this most opaque of his works, proved to be an attraction to Bute, whose enthusiasm for the ‘visual’ and ‘kinetic’ quality of his language led her to the surprising but well-judged move of running subtitles from the original text to support the dialogue.Visual music pioneer Mary Ellen Bute's final film was also her first feature film. James Joyce's classic story of Irish tavern-keeper who dreams of attending his own wake is brought to the screen with a sparkling energy which highlights its maker's career-long exploration of kinetic abstract animation. Perhaps best described as a 'film poem,' Passages from Finnegans Wake was the first attempt to 'cinematize' the works of James Joyce, featuring the author's highly original language spoken by characters and presented as text on screen.