悲喜人生

A small Chinese boy is adopted by a nomadic family in Inner Mongolia.

Tells the tragic story of Mongolian herders in defense of their homeland against the invaders.

A Las Vegas go-go dancer moves to Los Angeles to escape the psycho who has killed her partners.

Xiao Xiao is sold into arranged marriage with a 2 year old boy, who she must raise as his nanny until he is old enough to marry her. She is expected to honour tradition and to toe the line so far as social proprieties are concerned, but the young girl rebels against the edicts of her elders until at 16, she falls in love with another man.

During the 12th Century a boy is born to a tribal chief. He is named Temujin, which means "blacksmith." Nine years later, his father is murdered by the Tartars After a long struggle, just when Temujin reclaims tribal chief status, the Merkit tribe kidnaps his wife. In order to fight against the Merkits, Temujin has to use his mother as a pawn in exchange for troops from ally tribes. Temujin manages to rescue his wife only to realise that she is pregnant with the enemy's child. Enduring tremendous anguish, Temujin throws himself into battle against the Tartars and slaughters the leader of the intruders. He eventually takes his wife back and accepts her child. Later on, he begins a campaign to unify all Mongolian tribes. By the age of 40, he is bestowed the title "Genghis Khan", which means "oceanic ruler".

A husband is called back to emergency duty from his honeymoon and his bride investigates the sudden death of a couple also on their honeymoon.

In 1771 the oppression of Tsarist administration forced the larger part of Kalmyk's approximately 170,000-200,000 people to migrate to Dzungaria. Ubashi Khan, the great-grandson of Ayuka Khan and the last Kalmyk Khan, decided to return his people to their ancestral homeland Dzungaria, and restore the Dzungaria Khanate and Mongolian independence. Their goal is not an easy one and a lot of fighting and drama unfolds.

Documentary about China's film industry and the monumental changes in the past 40 years from beginning with propaganda films to the "5th generation" filmmakers and beyond, who embraced art and commercial films to make China the second largest box office market in the world after Hollywood.