新婚新娘(Régine Bourgeois饰)在新婚之夜被丈夫忽视，然后在其他男人和另外两个女人Christine Leval和Valérie Sidy的帮助下开始了放荡生活。从新娘开始穿着黑色长袜和黑色面纱躺在吊床上，七支蜡烛中的一支被点燃，另一个女孩在地板上欢爱，再点燃一根蜡烛，每天进行一次“愤怒”，直到所有七根蜡烛都点燃…………

Kathryn Price及Nichole Millard为《Guilt》的编剧﹑主创及执行制片，这部剧以Amanda Knox的故事基础，是关于一个美国人在伦敦，最终成为杀死她室友的主要嫌疑人的故事。当调查进一步展开，我们将知道她到底是像伦敦小报所指，一个天真无邪的小女孩受到了不好的影响，还是实际一个谋杀最好朋友的疯子。当丑恶的真相一步步揭开的时候，来到伦敦为她辩护的姐姐都质疑自己是不是真的了解妹妹。这部剧将全方位揭示伦敦社会，从一个豪华但是堕落的成人俱乐部到皇室家族。

Kathryn Price及Nichole Millard为《Guilt》的编剧﹑主创及执行制片，这部剧以Amanda Knox的故事基础，是关于一个美国人在伦敦，最终成为杀死她室友的主要嫌疑人的故事。当调查进一步展开，我们将知道她到底是像伦敦小报所指，一个天真无邪的小女孩受到了不好的影响，还是实际一个谋杀最好朋友的疯子。当丑恶的真相一步步揭开的时候，来到伦敦为她辩护的姐姐都质疑自己是不是真的了解妹妹。这部剧将全方位揭示伦敦社会，从一个豪华但是堕落的成人俱乐部到皇室家族。

A poor peasant woman becomes a symbol of worker oppression in this somber social drama directed by Henri Barakat. Azziza (Faten Hamama) is brutally raped by a guard when she goes into the fields to gather potatoes for her husband (Abdallah Gheiss). She does not relate the incident to her husband who is suffering from an undisclosed illness. Azziza hides the pregnancy and strangles the baby after it is born, but she also dies soon thereafter. The migrant workers rally around her memory as she becomes a martyr to the cause of the struggling peasants.

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?