An interior decorator takes a millionaire's wife on a guided tour of her new home.

A respected but struggling interior decorator from a wealthy background moves in with some of her clients in order to meet their specific needs. In the process, she tends to become friends with the families and get drawn into their personal problems. In the pilot episode, she's hired by an oil tycoon to lavishly decorate a house on his property for his daughter and future son-in-law, secretly hoping that the obvious expense will cause the fiancé' to back out of the wedding.

In the late 1980s, Moscow was shocked by a series of murders, with police finding only mutilated female bodies. Law enforcement agents can not deal independently with the investigation of this case. News of these acts quickly spread across the country - the arrival of the royal family in Moscow is in danger. It was then that a detective investigator Erast Petrovich Fandorin, who achieved certain professional successes in his business at such a young age, takes over the investigation. The provincial secretary of Aniasiy Tulips, for whom this business is a chance to prove himself in a favorable light, is taken to help Erast. The detectives are born an incredible and seemingly incredible version - Jack the Ripper visited Moscow, as bloody kisses were found on the girls' necks. The Ripper is also a personal threat to Fandorin, as the maniac is approaching his lover

Edgar and his family go into business as interior decorators.

Kasimir uses a hollow couch to infiltrate houses. Once inside, he secretly films the owners’ lives. A few days later the couch is picked up again, with Kasimir inside: “Delivery Error“. He delivers the tapes to the brain surgeon Dr. Liebermann, who is trying to learn how to feel human emotions. While Kasimir provides him with more footage of further break-ins to prove his love, the doctor, unimpressed, prepares an awake surgery in his cellar for a young musician. Broken by unre­quited love, Kasimir begins to deviate from Liebermann‘s dogma: never intervene in what happens in front of the camera. An unforgivable breach of trust for Liebermann and so he de­cides to determine Kasimir’s fate.

一个人独自在一所闹鬼的房子里度过了一夜。原本只是在一所普通住宅内进行的简单超自然现象调查，很快就变成了一场穿越未知领域、令人毛骨悚然的恐怖经历。

PHANTASMAGORIA OF THE INTERIOR is an audiovisual essay devoted to Walerian Borowczyk's film THE STRANGE CASE OF DR. JEKYLL AND MISS OSBOURNE. Utilising the materials of the complete, restored version of the film, and its French language soundtrack, the film offers a new way of looking at, understanding and appreciating Borowczyk's intensely cinematic art. Particular attention is paid to a painting by Vermeer of a pregnant woman, introduced early into Borowczyk's film, and reappearing at key moments. Beginning from this painting - its content, style, and historical background - particular aspects of the film are explored: its unusual pictorial compositions; the mingling of sexuality with violence; and the association of men and women with (respectively) open and closed spaces. The film argues that Borowczyk brings a surrealist sensibility to his free adaptation of the Jekyll and Hyde story, especially emphasizing the transgressive, revolutionary role of the free-spirited Lucy Osbourne.

暂无英文版的简介，请添加内容帮助我们完善数据库。

Esther thinks she might be pregnant. Conrad suspects his friend, Eddie, is the father. Conrad's ex, Charlotte, wants Conrad back and sees this as her opportunity. Over the course of one night, four people confront one another to make each other responsible for the mistakes of their pasts. Their clashes intensify revealing secrets, difficult truths, and ultimately their fragile but real connection to each other. (f/k/a Control: A Love story)

The film is about travelling on horseback across the Icelandic interior on the main route, which once connected the north of Iceland with the shout. This route was the scene of a tragic accident in the 18th century, when young farmers moving a flock of sheep to the North, perished in a snowstorm. For many years following the incident the track was not used, until the 19th century, when Captain Daniel Bruun from Denmark, accompanied by a photographer and a water-colour artist, crossed the difficult terrain, deep rivers, and rocky heights in sun, rain, fog and wind, marking the way with stones laboriously heaped into cairns.