亿万富翁、软件大亨、亚当·皮(Adam Pi)拥有生活中的一切，除了高中时代的美好回忆。他不情愿地参加了第20次聚会，度过了一段如此美妙的时光，他发现自己在想“如果我当时知道我现在知道的事情”，于是他给了整个研究生班一年的薪水，让他们回来再做12年级的一个月。

After Tereza's fourth miscarriage, her gynecologist, in an attempt to cheer her up, jokes about how she should try to conceive with a different partner. This remark shakes up Tereza's monotonous life.

After Tereza's fourth miscarriage, her gynecologist, in an attempt to cheer her up, jokes about how she should try to conceive with a different partner. This remark shakes up Tereza's monotonous life.

37岁单身美人 赤木优香（加藤罗莎 饰） 自信满满踏入婚活现场，却立刻意识到这里不是追梦之地，而是条件与欲望横飞的真实“战场”。她在此邂逅同为37岁、婚活8年的理论派 青岛智惠子（福田麻贵 饰）——一个用数据分析稳定婚姻、性格与她天差地别的理性怪。 　　一个执着追求高规格理想，一个坚持以现实与统计为依据，两人原本水火不容，却在面对一连串“癖好强烈”的相亲对象和残酷无情的婚活现实时，被迫组成奇妙联盟。即使屡屡受挫、遍体鳞伤，她们仍在这场荒诞又热血的婚活战场中奋力前行，寻找属于自己的幸福与未来。 　　本剧改编自猪熊ことり的同名原作漫画。

在帝国食品公司营业开发部供职的绀野祐太（草彅刚 饰）是一个永远挂着温暖笑容的和善男子，但是事业和爱情中接二连三的意外事件，却让他那颗正义善良有如阳光般明亮的心蒙上了阴影。于是出乎所有人的意料，绀野在30岁正当年时突然辞职。当然他并没有自感沉沦，而是重新拿起了书本坐进医学部的课堂苦读。数年后，37岁“高龄”的绀野以研修医的身份进入大学附属医院任职。只不过白衣天使的岗位上，依然有着这样那样的潜规则和暗箱操作，绀野能否坚守自己一以贯之的道德和职业底线呢？ 　　本片以该剧主人公以内科医生、作家川渕圭一的故事为原型。

在帝国食品公司营业开发部供职的绀野祐太（草彅刚 饰）是一个永远挂着温暖笑容的和善男子，但是事业和爱情中接二连三的意外事件，却让他那颗正义善良有如阳光般明亮的心蒙上了阴影。于是出乎所有人的意料，绀野在30岁正当年时突然辞职。当然他并没有自感沉沦，而是重新拿起了书本坐进医学部的课堂苦读。数年后，37岁“高龄”的绀野以研修医的身份进入大学附属医院任职。只不过白衣天使的岗位上，依然有着这样那样的潜规则和暗箱操作，绀野能否坚守自己一以贯之的道德和职业底线呢？ 　　本片以该剧主人公以内科医生、作家川渕圭一的故事为原型。

A rocker makes a pact to kill himself on his 37th birthday. 12 weeks before the release of his final album and the end of his life, he meets and falls in love with a woman who has a dark secret of her own.

In an interview with Hans Scheugl about the ideas and techniques behind some of his films, the film-maker Kurt Kren told the following anecdote, which sheds an interesting light on his work. For his film Tree again (1978), Kren used a highly sensitive infra-red color film, a type which usually has to be developed within a very short period of time. However, Kren who has always worked on a very small budget, only had a roll of film which was already five years past its expiry date and, as Kren says, "there was little likelihood of anything turning out on the film." But he still decided to take shots of a large and splendid tree surrounded by bushes and a stretch of pastureland over a period of several weeks, from summer to autumn - a series of individual pictures taken from the same camera position. As he says, "I didn´t have much hope - (I knew) it was a crazy thing to do." But Kren´s illogical hope and his unshakeable confidence in his material were rewarded. Tree again became one of Kren´s most beautiful works - although it is difficult to single out any individual work from a corpus of extraordinary density and variety which spans over thirty years and includes over 40 films. The tree, the field, the sky, in fact the entire picture radiates an unusual, almost eerie artistry, with its rapidly changing blue, green and reddish hues, sometimes brightly illuminated for the fraction of a second like the flash of lightening in a technicolor horror film. Or a sky of deep blue with clouds scudding across it, an airplane drawing condensation trails which fade away imperceptibly, the abrupt juxtaposition of sun and shadow and the strong, gusty movement of the wind amongst branches and leaves, as though an endless and destructive storm were at work. An apocalyptic picture, yet one that is full of a wonderful, quiet beauty - the changing of the sun, and the play of light, how autumn arrives in a matter of seconds and the leaves begin to fall, the shadows of grazing animals which appear and disappear in the blink of an eye.