此作品是一部长为8分多钟的录像作品，演员是阿娇（钟欣桐），她在作品中演出了一个从微笑到流泪的过程，表情的微妙变化是此次演出的核心部分.

多年前，顾天成父亲的化妆品公司Medea落叔叔顾荣琛手中，顾天成多年来在一家跨国金融公司进行企业收购，这次终于将收购的目标对准了Medea。就在他即将成功时，身体却无法支撑。经过手术，顾天成移植了女主角林嘉琪未婚夫杜峥的心脏，却在手术后因特殊的“细胞记忆症”而性情大变——原本对女秘书敌意满满的他，手术后却对嘉琪产生了特殊的感情，逐渐展露出其隐藏在内心深处的温柔一面。一直默默守护林嘉琪的童年好友冯子昂，原本是公司里的年轻高管，却因多年受辱，选择了一条无法回头的路，最终发现自己机关算尽却一无所得。在温柔善良的林嘉琪的帮助下，顾天成最终选择继续完成父亲的遗志，拯救了公司，也收获了真正的爱情。

新《哥斯拉》电影获准投拍，山崎贵担任编剧、导演和特效总监。

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?

该片改编自同名人气网漫，讲述曾经被鬼压床或者能看到过鬼等有过一些灵异体验的同好会会员们一同前往凶宅后经历的故事。

该片改编自同名人气网漫，讲述曾经被鬼压床或者能看到过鬼等有过一些灵异体验的同好会会员们一同前往凶宅后经历的故事。

《完全精神手册》一片的主角山本昌知，决定在82岁那年从临床医学领域退休，这使多年来一直依赖他的患者们感到非常焦虑。在2020年早春，山本夫妇开启了新的生活。这对他们来说，意味着要去面对从未有过的挑战，现在他需要花更多的时间照顾他的妻子芳子。