Every few hundred years, the most powerful demon on earth—a snake demon—awakens, and the Yin-Yang Masters are summoned to the capital. Meanwhile, the Princess of the realm has her own plans, as she conspires to claim the demon’s power.
Two married couples adjust to the vast social and economic changes taking place in China from the 1980s to the present.
Northern China, 2004. When miner Zhang Baomin returns to his home, a small and isolated mining village, his wife tells him that their son has mysteriously disappeared while shepherding his small flock.
In the last boxing match before his retirement, TAN Kai accidentally beats his teammate WANG Yao to death. WANG's heart is donated to a young girl, LI Chuan. Guilt-ridden, TAN Kai decides to meet LI Chuan and they slowly develop a friendship. Suddenly LI Chuan's body is starting to reject WANG's donated heart and a new surgery is very expensive. To pay for his sins and the surgery, TAN Kai must put his boxing gloves back on one more time.
The story revolves around a "surprise" kidnapping case. Liu Xiaojun (Dapeng), the owner of the car dealership, was involved in a kidnapping case for the accident of reselling a black car. He was surrounded by the kidnapped little girl Kiki (Ulanto Yaduo), the dereliant brother Xia Xi (Ou Hao) Several seemingly irrelevant people, such as Xia Tao (Sha Baoliang), dancers (Li Meng ), and second-hand car dealers (Cao Bingyu), have also fallen into the abyss of eternal annihilation.
The film tells the story of a young girl who travels from Shanghai to Hong Kong in pursuit of education, but ends up working for her aunt seducing rich and powerful men.
Diagnosed with ovarian cancer, iron-willed journalist Sheng Nan (“Surpass Men” in Chinese) is pressured to make a quick fortune and find mind-blowing sex before the costly surgery numbs her senses. Taking on a businessman’s biography writing job, she hikes into the misty mountains, where a chain of outbursts with her dysfunctional family, grumpy client, misogynistic co-worker and dreamlike romantic interest hilariously unfold. As deeply moving as it is luminously witty, writer-director Teng Congcong’s debut waltzes across the bitterness swallowed by her generation of women born under China’s One Child Policy, unprecedentedly burdened to “surpass men” while trying not to be “leftover women” at the same time. Saluting the 18th-century Chinese literature classic Dream of the Red Chamber in its title, the enchanting gem refreshes the novel's transcendent contemplation on desire, death and womanhood from a modern cinematic perspective.
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