2010年对于很多动画粉丝来说都是惨痛的一年，因为这一年之内接连失去了数位对动画事业有莫大贡献，在业界举足轻重的知名监督，包括2010年8月逝世、《千年女优》、《东京教父》的监督今敏，以及《机动战高达 第08MS小队》、《Hellsing》的监督饭田马之介。饭田监督于2010年11月26日因肺癌逝世，享年仅49岁。他走后留下了不少未完成的遗作。2009年年底，角川书店杂志《Gundam Ace》2月号上公布了著名动画制作公司骨头社BONES将负责制作饭田马之介遗作《永远之久远》（《トワノクオン》）的官方消息。而在《Gundam Ace》3月号杂志上，公开了动画剧场的制作阵容、故事大纲和具体上映日期等情报。

本片是迈克尔·艾普特导演从42年前开始的记录片系列的第七部。迈克尔·艾普特在1964年时为英国BBC电视台拍摄一部纪录片“7 UP”（七岁起），片中访问了十二个在英国来自不同社会阶层的七岁小孩 ，其中包括来自孤儿院的孤儿及至上层社会的小孩，谈他们的生活和梦想。 此后，迈克尔·艾普特每七年回去重访那些长大了的小孩，直到今年他们四十九岁。本片综合了被访者7，14，21，28，35及42岁多年访问的精华。

本片是迈克尔·艾普特导演从42年前开始的记录片系列的第七部。迈克尔·艾普特在1964年时为英国BBC电视台拍摄一部纪录片“7 UP”（七岁起），片中访问了十二个在英国来自不同社会阶层的七岁小孩 ，其中包括来自孤儿院的孤儿及至上层社会的小孩，谈他们的生活和梦想。 此后，迈克尔·艾普特每七年回去重访那些长大了的小孩，直到今年他们四十九岁。本片综合了被访者7，14，21，28，35及42岁多年访问的精华。

这“七形的爱”@亿万同人亚译联盟

这“七形的爱”@亿万同人亚译联盟

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

律师亚历山大有机会得到他梦寐以求的工作。然而，有一天，他的人生彻底颠覆——他儿时向圣尼古拉斯许下的愿望，那些他早已遗忘的愿望，突然开始一一实现。

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?