一个懵懂的10岁男孩李狂龙被同班女同学小姚抛弃，爱犬他的五个姐姐告诉他，爱犬我们李家就像七里否的五片花，会永远保护花中间宛如花蕊一般的小狂龙。没有任何女人可以欺负狂龙，六人勾勾手指定下海誓山盟。没想到，长大后的李狂龙（蔡凡熙 饰）悔不当初！狂龙生命里的每一分每一秒，都只属于五个姐姐们！想谈恋爱的狂龙马上就被姐姐们识破。姐姐们见狂龙不顾小时候的承诺，执意想要追求班上的转学生小梦（项婕如 饰），决定展开非常手段，执行一系列“姐姐永远是对的”之守护弟弟计划。想要成为狂龙的女朋友，得兼目大姐（谢金燕 饰）的温柔，二姐（刘奕儿 饰）的优雅，三姐（张墨锡 饰）的智慧，四姐（高隽雅 饰）的机智，五姐（张垚 饰）的美貌？史上最幸运的热血转学生小梦杠上史上最怕姐姐的弟弟李狂龙，有五个姐姐的狂龙就注定要单身了吗？
回复 :妻子小霖（景甜 饰）去世后，米一帆（陆毅 饰）就和五岁的儿子小乐（迷你彬 饰）相依为命。小霖去世前留下“下一年的雨季会回到人世”的诺言，父子俩将信将疑。没想到第二年雨季小霖真的出现，只是记忆全无，破碎的家庭再次团圆，虽然存有疑虑，但米一帆和小乐还是将他们的爱毫无保留地给了小霖，渐渐小霖也真正融入这个家庭，接受了妻子和母亲的角色，幸福的家庭看似美好，但人死真的可以复生吗？眼前这个失忆的小霖真的是他们的亲人吗？
回复 :《月和雷》是角田光代于2012年出版的长篇小说，讲述生活如浮萍的女子和儿子阿智，以及这对母子跟过去住在一起的男子的女儿泰子的故事。泰子幼时母亲就离家出走了，就这样感受不到家庭温暖的她默默长大，某天父亲情妇的儿子却出现在了她的面前，平静的生活因而发生了变化。
回复 :与Stefan Uher和Elo Havatta一样，Eduard Grecner也是60年代斯洛伐克新浪潮电影的缔造者之一。他的三部影片《一周七天》（1964）《尼绒月亮》（1965）和这部《徳拉克的回归》都是斯洛伐克新浪潮电影的代表作。这部叙事方法独特带有明显意识流风格的黑白影片甚至间接影响到了后来法国导演格里耶在捷克拍摄的两部影片《说谎的人》和《Eden and After》。A special place in the development of feature films is reserved for Eduard Grecner, the creator of just one good film, Dragon Returns (Drak sa vracia, 1967), titled after the nickname of the lead character. After his initial work with Uher, Grecner made his mark as a proponent of the so-called "intellectual" film, the antithesis of the sociologically, or rather, socially critical film. Grecner's great role model was Alan Resnais, a young French filmmaker who sought to introduce Slovakia to the idea of film as a labyrinth in which meanings are created not by stories, but by complex configurations of dialogue, shots, and various layers of time, thus differentiating film from both literature and theater. In Dragon Returns―the story of a solitary hero who is needed by villagers living far in the mountains, but who is rejected by them at the same time because of his detachment―Grecner brought the tradition of lyricized prose to life through a whole series of formal aesthetic techniques. Alain Robbe-Grillet immediately developed this idea in the film shot in Bratislava The Man Who Lies (Slovak: Muz, ktory luze; French title: L'homme qui ment; 1968), and perfected it in Eden and After (Eden a potom, 1970).
