萨沙（谢尔盖·纳谢德金 Sergei Nasedkin 饰）生活在俄罗斯北边的科拉半岛，他将自己的经历全部献给了一个残败的集体农场。在农场，他与工作人员保持着良好的关系，大家相互尊重。与此同时，工作人员也对他和安雅之间的一些不为人知的事情保持宽容。 　　安雅是当地政府的一位秘书，她的地位使得她在社区中有一定的影响力。然而，萨沙很快遇到了一个棘手的问题：当地政府的管理员向他提出了一份优厚的条件，希望他放弃农场。这让萨沙陷入了进退两难的境地。除此之外，萨沙的麻烦事可能还有其他方面，这使得他面临着重大的人生选择。他需要在保护自己珍爱的农场和接受政府的优厚条件之间做出艰难的抉择。

根纳季·什帕里科夫唯一一部执导的作品，拍出别具一格的优美与抒情，从中亦可看到让·维果与米开朗基罗·安东尼奥尼的影响。故事关于一对年轻男女的偶遇。维克托在路边搭乘顺风车，上车后坐在丽娜旁边。一路上，两人相互诉说各自人生的经历。车到达目的地，丽娜邀请维克托一起去剧院看演出。维克托向丽娜表达爱意，丽娜却因为家中熟睡的女儿，拒绝了他。第二天，丽娜表示可以把女儿交给妈妈照顾，想跟着他一起离开。影片以冷静的镜头语言，讲述了一个爱情故事，结尾处丽娜弹手风琴的场景尤其具象征意味，二人曾期许的漫长幸福生活终将渐行渐远。

某保健品牌客服人员二子玉川薰（夏菜 饰）欠缺归纳整理能力，房屋乱得一团糟，以至于因此失去三个男朋友。为了与心仪的男子小田雅人获得美好未来，薰决定好好给房间来个大扫除。可是这个缺乏计划性的女孩最终以失败告终，她不得已按照杂志的广告请来清理公司的负责人乘田磨辉子（仲间由纪惠 饰）。然而绰号“紫菜包饭”的辉子并非通常负责打扫的钟点工，她到来的任务是教薰学会整理房间衣物的办法，进而取得美好的人生。怀着半信半疑的心情，薰开始了整理祭祀，奇妙的人生拉开序幕，改变总是在不经意间…… 　　本片根据近藤麻理惠的原作改编。

法国新导演安托万·胡斯巴克的新片，是他的社会阶段三部曲第一部，讲一位失业中年大叔，找不到工作一步步抑郁到想自杀的故事，丧到触底。剧本和整体的叙事节奏很出色，像剧作和主题层面上史蒂芬·布塞和达内兄弟的混合体。

法国新导演安托万·胡斯巴克的新片，是他的社会阶段三部曲第一部，讲一位失业中年大叔，找不到工作一步步抑郁到想自杀的故事，丧到触底。剧本和整体的叙事节奏很出色，像剧作和主题层面上史蒂芬·布塞和达内兄弟的混合体。

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.

流落多年的真千金白芷回到何家，使得假千金何香一夜之间失去所有。何香陷入封魔，绑架了白芷并与其交换容貌，假扮白芷回到未婚夫和母亲身边。而顶着何香脸的白芷，却遭遇到了不属于她的苦难，只祈求真相大白的一天