经历中年危机的电影人纳米尔在拍摄一部关于家族哀悼的纪录片期间，前往开罗主持编剧研讨会。与一群渴望创作自由的年轻写作者的相遇，触发了一场蜕变——他终于窥见那部迟迟未能完成的电影的初衷：通过全然拥抱生活，向父母致以最深的敬意。

亿万富翁秦宇带着前世的记忆，回到妻子意外去世的前一天。他凭借前世的记忆，救下原本将会死于山体滑坡的陈舒婷，从此结识大佬。富少周斌嫉妒秦宇跟陈舒婷关系紧密，于是处处陷害，可秦宇拥有先知的能力，化解危机的同时总能打脸周斌。最终秦宇名利双收，弥补遗憾，并且带着妻子女儿走向人生巅峰。

郝凡是一名高中生，成长在极其普通甚至是有些清贫的家庭里，自己的平淡无奇，令他经常抱怨命运的不公。在他眼里别人都过着更快乐的人生，十分羡慕。并总幻想自己拥有更狂拽炫富吊炸天的人生。一日，一位神奇的老人突然出现在他的面前，自称可以帮他实现随意改换命运的愿望，但条件是要用“爱”来进行交换，迷失的郝凡竟真的与老人签订了协议，迎来了一段自认为崭新的顶级人生——超级人气偶像明星，可令他没想到的是，这段无爱之旅，根本不是什么巅峰人生，却变成了他疯狂的噩梦。 最终他才发现，这一切以及神奇的老者可能根本就不存在，自己好似大梦初醒。

世界最强的越野跑者基里安还小的时候，将世上许多高峻的山岭记录在笔记本里，期待长大后能够一一征服，当他完成了笔记本上的所有高山之后，在2017年五月，他开始了「巅峰人生」计画：不携带氧气筒、绳索且没有任何同伴的情况下，一周内连续攀登圣母峰两次。本片带领观众见证基里安传奇的生涯，也揭露了他不为人知的脆弱、恐惧和自我怀疑。

重生后，我发现自己能看见人们头顶的个人可支配资产。当老婆如前世一样带着白月光出现在我面前，说：“我们离婚吧，他家境殷实，比你有钱，比你更能照顾好儿子！”。我盯着那个男人头顶的一大串负资产，笑了：“好！”

陆白薇与陆娇娇因换亲命运交织，重生后陆娇娇仍处处作对。陆白薇嫁给贺霆，在波折中创业致富、收获幸福， 还揭露盗墓贼。陆娇娇却一错再错，最终精神崩溃。多年后，陆白薇和贺霆成为优秀企业家，过上美满生活。

狐妖白逍借用灵珠闭关修炼，只差几天便可功德圆满，却被冒失少女夏葵一跤跌在他身上。白逍不仅修炼被打断，还被当萨摩耶送到宠物医院。宝贵灵珠，亦被夏葵拿走，打算摆到她的淘宝小店上当假古董卖。白逍追到小葵家，灵珠竟以小葵做了宿主，他欲杀夏葵而夺珠，却被夏葵做的红烧肉诱惑。而此时，白逍眼前的世界越来越让他惊奇，不仅红烧肉前所未见，还有电灯，微波炉，完全在其经验之外。原来白逍竟是一只唐朝的狐狸精，一觉醒来，人间已变成现代社会。这就是唐朝妖法遇到现代科技，纵使高冷范儿十足的白逍也露惊慌相。小葵看出他的疑惧和好奇，趁机骗得几日活命时间，以向单恋的学长表白。但令这对啼笑皆非冤家怎么也想不到的是，灵珠现世，竟悄然激活了冰冷都市丛林中无数匪夷所思的奇异妖灵，纷纷前来搅扰。为保灵珠不被抢走，白逍被迫当起小葵的贴身保镖。一个冷面唐朝狐少年，一个呆萌贪财少女，被迫生活在一起，经历这大都市中最诡异的阴谋以及最暖心的情感。

狐妖白逍借用灵珠闭关修炼，只差几天便可功德圆满，却被冒失少女夏葵一跤跌在他身上。白逍不仅修炼被打断，还被当萨摩耶送到宠物医院。宝贵灵珠，亦被夏葵拿走，打算摆到她的淘宝小店上当假古董卖。白逍追到小葵家，灵珠竟以小葵做了宿主，他欲杀夏葵而夺珠，却被夏葵做的红烧肉诱惑。而此时，白逍眼前的世界越来越让他惊奇，不仅红烧肉前所未见，还有电灯，微波炉，完全在其经验之外。原来白逍竟是一只唐朝的狐狸精，一觉醒来，人间已变成现代社会。这就是唐朝妖法遇到现代科技，纵使高冷范儿十足的白逍也露惊慌相。小葵看出他的疑惧和好奇，趁机骗得几日活命时间，以向单恋的学长表白。但令这对啼笑皆非冤家怎么也想不到的是，灵珠现世，竟悄然激活了冰冷都市丛林中无数匪夷所思的奇异妖灵，纷纷前来搅扰。为保灵珠不被抢走，白逍被迫当起小葵的贴身保镖。一个冷面唐朝狐少年，一个呆萌贪财少女，被迫生活在一起，经历这大都市中最诡异的阴谋以及最暖心的情感。

《Bravo My Life》讲述了电视台助理导演、准备七年还未能出道的演员，以及在电视台目中无人的绝对掌权者之间的故事。延政勋将在剧中饰演电视剧PD申东宇，郑柔美则将饰演一直未能升职的助理导演河度娜，显祐将在剧中饰演准备7年都未能出道的演员金范宇。

1997, 75 min., colour, BETACAM SP, Stereo 　　The Japan Foundation, North Foundation, Pandora Co., Ltd (Japan) 　　Special thanks to Hiroko Kodjima 　　scenario: A. Sokurov 　　camera: A. Fedorov 　　sound: S. Moshkov 　　editor: L. Semenova 　　“My journey to your sorrowful country cannot finish… even here in Russia. 　　I can't part with feelings which have captured me… as if my soul had been in search of Beauty and Kindness. If not — what for have I deserved this gift, this meeting… 　　I have arrived in the twilight. The noise of the wind and my tiredness didn't let me fall asleep. 　　I was lying on the floor, there was a small lamp at my head, the bedding had been thrown over the mat. 　　I don't know why, but I began to think about the war, and the scenes of unknown life appeared before me from the past… or, perhaps, from the future; Somebody’s children… somebody's mothers… 　　The summer was warm… 　　Then the morning came, windy, cold and sunny… I examined the house cautiously. It was empty… 　　Then, I remember, I turned back, having heard a creak. 　　It seemed she had not yet noticed me… I decided to come nearer. 　　I can remember well enough, how everything became interesting: walls, utensils, wind, light, sounds — all her life. 　　We agreed that she would let me stay near her all the time All the hours and minutes that I could spend in her old house. I sat near her with her permission. And it was really necessary: I could contem­plate her to my heart's content.” 　　Alexander Sokurov (from the author's text to the film) 　　A myth about lost harmony, which is always with us, though we often cannot feel it, is further developed in this film by Alexander Sokurov. The material used here is concrete and, at first sight, quite fit for TV. The whole work is unhurried and detailed report from an old solitary house, lost in the mountains, in the village of Aska, prefecture Nara, Japan, where an old woman, whose name is Umeno Matshueshi, lives alone. But filmmaker's creative task is quite opposed to the TV information stream. It is not only because this subject, this person couldn't be of any interest for any TV crew in any country (and least of all, perhaps, in modern Japan). 　　Sokurov's camera doesn't watch this character, doesn’t ask any questions, doesn’t surprise her, but extracts uninterrupted poetical image out of the trivial details of this physical reality, out of this extinct life and daily routine. The image is epic and lyrical at the same time. Refined simplicity of Japanese landscape, interior, a series of portraits are not a representation of “couleur local,” but only the sign of ideal technique of the ideal description, allowing to enter this life. The woman, who remains silent throughout the whole film, cooking and eating, kindling the fire and sewing, giving alms and combing her hair before us, recites in the final poem as a prayer: artless and sorrowful tanku about loneliness, about the constancy of losses and gainings. Sokurov shoots this unexpected stroke in his personage's portrait as a lyrical coda of his work.