《7-11之恋》改编自网路作家痞子蔡的同名作品。蔡某是个艺术工作者，平日作词作曲、写小说拍纪录片，昼伏夜出。每个早上睡前，他会到街角的7-11买罐牛奶配御饭团当早餐，生活平稳规律。 　　生活的变化，从不经意打破扑满开始。成堆的硬币自行玩起了配对游戏。每个早餐32元，2个10元、2个5元、2个1元，每天早晨的7-11之行，他可以游戏5个礼拜。 　　和蔡某分享着早餐秘密的，是7-11的店员小凤。他的规律成了她的习惯，2个10元、2个5元、2个1元，每个早晨的10：30，2个人若有似无的亲密。小凤刚结束一段感情，她的前男友小潘是个一无事处的小混混，他那快速致富的白日梦给自己带来牢狱之灾。在小潘蹲苦牢的日子，小凤离开了，她为自己在7-11找了工作，开始期待一个全新的开始。每天的生活是贩卖菸酒什货与电视偶像剧，蔡某的固定出现 ，让她平淡的日子有了可期待的事物。 　　红遍街头巷尾的‘雨衣’，讲述着对日本没多大好感的阿智，发现自己爱上了和他做语言交换的日本女孩-雨子。雨子说：在她的家乡，当男孩爱上女孩，他会请女孩和他共穿一件雨衣。阿智迷上了雨衣的传说，也迷上了这个雨天出生的女孩。在爱情成熟前，雨子就带着她的秘密回日本了，留给阿智一件雨衣和传说的下文： 　　当女孩答应了男孩的心意，她将回送男孩一件雨衣。 　　但依循着宿命回乡继承茶馆的雨子，已不知何时会再回南国。 几个月来，蔡某持续拍摄他的纪录片，关于一个艺妓的故事。她叫菊柳，有着对舞艺的热爱，她在心理系毕业后，全心投入作为艺妓的工作。在她厚重的脂粉下，在对艺妓工 作的终生承诺外，暗涌着绵密的情思。她回家乡的路上，蔡某一直送她到消失在视线之外；对卸了妆的自己不熟悉，对自己的爱情无法明言，她只能用眼神诉说一切。 　　此时，小潘找到了小凤的下落，又一次，小凤再陷入纷乱的关系中。她亟欲挣脱，留下了自己的电话给蔡某，然后不知去向。 阿智、小凤、雨子、菊柳，还有那些活在寂寞、错过爱情的男男女女，经过春雨的灌溉，他们期望着让心中的爱情萌芽，期望一切将会雨过天晴。

Less than 24 hours into his parole, charismatic thief Danny Ocean is already rolling out his next plan: In one night, Danny's hand-picked crew of specialists will attempt to steal more than $150 million from three Las Vegas casinos. But to score the cash, Danny risks his chances of reconciling with ex-wife, Tess.

The survivors of a devastating flu attempt to rebuild and reimagine the world anew – while holding on to the best of what’s been lost.

A happily married couple embarks on a journey in an effort to overcome a tragic loss—and rekindles their love for each other.

In the sweltering heat of a Texas summer in 1974, Jim Estelle, head of the Texas Department of Corrections, plays a deadly game against the ruthless Federico Carrasco, a convicted heroin dealer who has taken over the Huntsville Penitentiary and holding dozens hostage after his pre-planned escape has gone awry. Lines between captor and captive, justice and survival, begin to blur as the siege spirals for eleven endless, terrifying days.

她是個晚上十一時下班，早上七時上班的辛勤上班族；每天上班前、下班後，流連便利店，繁忙中尋求片刻喘息。他是個晚上十一時上班，早上七時下班的兼職便利店員；每晚徘徊原點打發時間，期待著她的出現。 　　She is a white collar working from 7am to 11pm. Every day before and after work, she would wander into the convenience store for a little breather. He is a part-time worker in the convenience store from 11pm to 7am. Every night he is waiting, waiting for her to show up.

《XI ELEVEN》是国内首档同经纪公司女团竞技拼搏真人秀。节目采取舞台+真人秀形式，围绕成为女团的五个必备元素，11位练习生互相帮助，共同努力，展现女团独特魅力。不同以往90分钟甚至于200分钟超长快进N倍才能吐血观看完成的节目，浓缩传统综艺节目的精华内容，以最直接的方式快速展现女团练习生成长故事。

Stanislas Oscar Seminario, aka SOS, is a young explorer, just back from Africa, visiting old friends: the Pescara's. But the father keeps receiving anonymous letters. And soon a mysterious murder is committed. SOS begins to investigate...

7日7频道栏目的基本构架是以故事化的选题为主导，辅以生活服务类资讯信息。2012年停播。

Lord of the Frames: Kurt Kren 　　by Peter Tscherkassky 　　Translation: Elisabeth Frank-Großebner 　　reprinted from exhibition catalog, Kurt Kren at Wiener Secession, 1996 　　In 1964, "Wien Film" refused to print 6/64 Mama und Papa. When Kurt Kren handed in the original, the film grader said with an undertone of sympathy that, given the many cuts, one would not be able to make out anything, anyway. His worries were groundless: when Kren came to pick up the print, some people with flushed faces left the projection room, telling him to get out and never to come back again. A few months later, a similar scene took place at "Listo", where 9/64 O Tannenbaum was not accepted. Kren ultimately found a place that took his films, based on actions by Otto Muhl and Gunter Brus: a house on Peter Kaiser Gasse in Jedlersdorf, a neighborhood in the East of Vienna, on the other side of the river Danube. There, in the 21st district, on the most remote outskirts of town, films were developed and printed in self-made contraptions reminiscent of washing-machine drums. The man who ran the business single-handedly intimated that he was used to explicit images owing to customers from the blue movie scene. The facts that the credits in a few Kren works from those days are slightly out of place and that the name "Kren" next to the copyright sign goes beyond the edge of the frame can be explained in this context. On request, credits were in-house productions, but they were made with a camera that had no view finder, for which reason slipped boards were none too unusual. There were no objections to the films' content, formal and creative issues played a secondary role. 　　Be that as it may - the "© Kren" jutting out over the frame can easily be understood as a metaphor of the avant-garde and a harbinger of cinema outside the screen - Expanded Cinema. It is precisely during the "Jedlersdorf period" in his oeuvre that Kurt Kren demonstrates some of its best knacks to modern cinematography. 　　(Source: http://www.hi-beam.net/mkr/kk/kk-bio.... 　　http://www.ubu.com/film/kren.html