海风，阳光，小木屋，李现正在摆满7喜莫7托的店内忙碌。突然一个身影闪过，让李现猝不及防，心漏跳一拍，一场浪漫邂逅正在上演，他们之间究竟会发生什么样的故事？

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

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

Rajiv and Varsha, a couple with a five-year-old son, Rahul, moves to a new flat where Varsha faces paranormal activities. Can Varsha fight against supernatural forces to save their dream house, or she decides to leave her house to save her family?

意大利政治寓言片.它以一种带有神秘,隐喻和恐怖色彩的幻想手法来抨击当时统治意大利的天主教民主党,揭露当权的政客,教会神职人员和大财团之间互相渗透,勾结的社会现实.对掌权人物的病态心理,以及他们的腐败和罪恶进行批判和分析.背景设置在一次意大利全国发生疫情的形势下,在一个隐秘酒店的地下建筑里,教会正在举办一个为期三天的,由上百名意大利天民党上层精英--天民党的政治领袖，大银行家，企业家等等参加的年度灵修会，其宣称的目的是帮助他们涤罪,无论他们过去作过什么大小坏事,只要进行忏悔，在这里都可以得到上帝宽恕和净化.这里表面上看像是一个大酒店,但在它的“地下墓穴”（catacombe）里，建有很多宗教气氛的场所以及独立的小房间,以便每个人可以在其中静思和得到灵感.而实际上，在这种看似神圣的环境中，却进行着大量肮脏的政治，宗教，权力，信仰之间的交易。

山部健太與朋友們一起去露營，他的目標是從溪流釣到今年最早的大馬哈魚．突然，一名少女出現在他的眼前，彷彿是從流行主雜誌坎出來的美麗少女對健太說：下次約個時間見面吧！並留下電話號碼給他．．．

When starting an international relationship, we believe that there are no borders when it comes to love. However, while dating we face many obstacles such as linguistic and cultural differences. We wonder, “Who’s fault is this?” While there are no concrete answers when it comes to love and relationships, we aim to resolve some of these issues. We have 7 men and 7 women from different countries and different cultural backgrounds to share their opinions on love and relationships.

无论明天会发生什么，我们已经拥有了今天。 陈丑时（蒋奇明 饰）总是比别人提前感知分离，因为他能看到对方头顶上的相爱倒计时。 他遇到了一见钟情的女孩温倩（张艺凡 饰），而温倩头顶上的数字只有7天，明知爱到最后可能没有结果，还要爱吗？陈丑时和温倩陷入了所有恋人们都会经历的爱情考验，他们一次次分开，却又因为执着相爱而一次次重逢。 本来只有七天，他们却爱了一辈子。 就让时间证明，我们的爱不是一时兴起，无数个汹涌爱意的瞬间累积在一起，就是永恒。