你在饥荒年间捡到了一名被抛弃的女婴，你将女婴当作妹妹养大并与之相依为命，可在一次仙魔大战中你为了保护少女，而死在了她的面前，自那以后少女只有一个目标，那就是复活自己的兄长，而不知过了多少岁月多少光阴，少女终于突破到了连仙帝都无法触及的境界，成为了世间宛若神明般的存在

''Your lungs are about as bad as they can get,'' the nurse explains to the 83-year-old man. ''Your lungs aren't going to get better, and so the act of putting you on the machine is almost a futile effort.'' In a long conversation, the nurse lets this patient know what his options are and tries to determine his wishes, as kindly as possible but with the suggestion that she has done this many times before. ''I want to help you, but I only want to help you in the manner in which you want to be helped,'' she says. ''I don't want to keep you alive unless you like living.'' 　　A half-dozen young medical professionals gather around the bed of an old woman, a stroke victim who cannot speak and can communicate only by means of the faintest movements. They want to discuss the possibility of removing her breathing tube and the machine to which it is connected. Does she understand what the consequences of this may be? Is she prepared for the worst? Is she worried about the way her death may affect her devoted husband? The woman attempts to answer this barrage of difficult questions by weakly signaling yes or no, but she is soon exhausted. She indicates that she would like the conversation to stop. 　　A semiconscious man who will die within a matter of days is being groomed by a slightly impatient young nurse. He looks momentarily startled as she adjusts his head so that he can be shaved. It looks as if moving the tubes attached to his face is slightly painful. It's hard to tell. The man gives the nurse one more startled look as she perfunctorily runs a comb through his hair. 　　In a room filled with medical machinery, the line on a monitor goes flat. A nurse stands by, still holding the patient's hand. A doctor touches the patient efficiently, then checks for breath from her open mouth. ''Okay, she's dead,'' he says. ''7:53.'' 　　These are the unforgettably sobering sights and sounds of ''Near Death,'' Frederick Wiseman's great, fearless and monumental six-hour documentary chronicling the workings of the medical intensive care unit at Boston's Beth Israel Hospital. They are the sorts of images that become grimly commonplace during the course of a film that is less a viewing experience than a total immersion. It isn't the running time that makes ''Near Death'' so overwhelming; it's the subject itself. But at this length, the film has time to carry its audience from an initially raw emotional response to a calmer consideration of the difficult issues raised here, and finally on to some sort of resolution. 　　It is Mr. Wiseman's method to make himself an extremely attentive fly on the wall, observing long exchanges between doctors and patients, doctors and family members, and among the various members of the unit's medical staff. This particular intensive care unit is not a place for emergency surgery or for treating sudden illnesses; it's a place offering medically sophisticated treatment to people whose final days mark the last stage of slow, agonizing decline. Everyone the camera observes has spent time watching life erode and has had extensive experience with debilitating pain. 　　One of the doctors has a sister who practices medicine at another hospital. ''She doesn't say 'What do you think?' - she says 'You're father's dying,' '' he tells a colleague. But at this particular ward, great care is taken to talk more humanely and less abrubtly about what the terminally ill patient's prospects really are, and to try to involve patients and family members in making life-or-death decisions. This is even harder than it sounds. Patients who thought they would never want heroic measures can sometimes feel differently when their worst fears become reality; relatives who want everything possible done for their loved ones reach a point where they may feel the dying patient has been through enough. 　　The doctors have their own perspective. Experience has inevitably touched some of them with cynicism, however hard they fight against their own pessimism. ''I really believe that from the moment that diagnosis was made - like in 'Treasure Island,' when that old captain got handed a black spot? She got handed a black spot,'' a doctor tells a colleague about one patient. ''It's not clear we have anything to offer,'' this same doctor subsequently acknowledges. ''But in this day and age, we're extremely reluctant to say 'We can't do anything for that.' '' The doctors are always first to recognize hopeless situations, and they find themselves gently trying to steer patients toward the recognition that high-tech life-prolonging efforts may be futile and self-defeating. Phrases like ''We never know the future for sure, but. . . .'' and ''a borderline situation between surviving and not surviving'' have become delicate staples of their conversation. 　　Among themselves, the doctors talk differently; they may use less gentle euphemisms, like ''just call it a day.'' ('' 'Quality of life' is for furniture salesmen,'' one says.) For the most part, the doctors in the film are as young and energetic as their patients are weak and old, and at times it is difficult not to regard as cavalier the very hardiness that allows them to do this work at all. One of the things that emerges over six hours is an enormous appreciation of the doctors' stamina and tact. 　　As ''Near Death'' focuses attention on questions of just where life ends and how its ending can best be handled, it flinches at nothing. It's not for the timid. Though there is no full autopsy sequence depicted here, doctors are seen studying diseased organs in a post-autopsy evaluation session; another section of the film shows exactly how nurses remove the dead from their rooms and transport them inconspicuously to the morgue. The nurses' casualness about this is at least as chilling as the process itself. 　　And if squeamishness is not spared, neither is pure emotion. There are scenes of heartbreaking tenderness in which longtime spouses, soon to be left alone, try to comfort the people they love. The families who allowed Mr. Wiseman to film long, uninterrupted takes chronicling such private and painful moments have made an invaluable contribution. 　　''Near Death'' will be shown today at 11:30 as part of the New York Film Festival. Those who see it will find themselves irrevocably altered by the experience. 　　'We Never Know' 　　NEAR DEATH, directed, produced and edited by Frederick Wiseman; photography by John Davey; production company, Exit Films; a Zipporah Films Release. At Alice Tully Hall, as part of the 27th New York Film Festival. Running time: 350 minutes. This film has no rating.

A man arrives at the hospital to see his father on his deathbed. He would like to have a last good time with him, but the father worries above all about knowing what to do with two jars of mustard that have been started.

A man arrives at the hospital to see his father on his deathbed. He would like to have a last good time with him, but the father worries above all about knowing what to do with two jars of mustard that have been started.

据国外媒体报道，电子艺界（EA）已将其长期畅销的电脑游戏《模拟人生》的电影版权出售给了20世纪福克斯公司。《模拟人生》游戏系列是电子艺界拥有的重要版权之一，该系列包括终结版以及拓展版“非常派对”和“欢乐家庭”。自7年前《模拟人生》游戏推出以来，累计销量已达8500万份。 《模拟人生》游戏常被形容为“虚拟儿童游乐室”，玩家可以掌控虚拟人物，帮他们交友、找到满意工作并购买家居设施，让他们过上快乐生活。电子艺界表示，已为这款老游戏制作了交互式版本，无论怎样玩《模拟人生》，它似乎都魅力无穷。《模拟人生》由传奇游戏设计师威尔·赖特（Will Wright）设计，他擅长创作离奇故事，避免线性情节，能让玩家创造和开拓自己的人生。 双方未透露具体交易金额，也未立即就此发表评论。

根据国外媒体报道，电子艺界（EA）已经将其始终畅销的计算机游戏《模拟人生》的电影版权出售给了20世纪福克斯公司。 电子艺界的《模拟人生》游戏系列是其拥有的大宗版权之一，《模拟人生》游戏系列包括终结版以及拓展版的“非常派对”和“欢乐家庭”。已从7年前，《模拟人生》游戏推出以来已经累计卖出了8500万张。 《模拟人生》游戏常常被描述为“虚拟的儿童游乐室”，游戏认玩家掌管虚拟的人，帮助他们交友，寻找满意的工作和购买家居设施，让他们快乐的生活。 电子艺界表示，已经为为《模拟人生》这款老游戏制作了交互式的版本，无论你怎么处理《模拟人生》游戏，它似乎都有无穷的魅力。《模拟人生》由传奇的游戏设计家Will Wright设计，他擅长离奇的故事，避开线性的情节，能让玩家创造和开拓他们自己的人生。 双方没有透漏具体的交易金额，也没有就此立即发表评论。

＊这是一个热血父亲的终活物语 　　＊也是女儿送给家人的永恆回忆 　　＊本片在日本从11家戏院，飆长到115家戏院映演，感动持续热映中！ 　　我叫砂田知昭，享年69岁。 　　67岁才退休的我，在例行的健康检查中，发现自己胃癌末期。 　　為了不让家人困扰，我开始写「终活笔记」。 　　我的小女儿（本片导演）问我在写什麼？ 　　我回答她：「笨蛋才会在死之前告诉你。」 　　燃尽生命，再说一次「我爱你」 　　本片是是枝裕和御用副导砂田麻美初执导筒之作，记录自己父亲砂田知昭临终的那段日子。业务员出身，在同一间化学公司打拚超过四十年的砂田先生，在67岁退休后没多久，便被诊断出胃癌末期，正式进入人生最后阶段。即使如此，砂田先生还是正面以对，仍像往日幽默、热血。 　　砂田麻美拿起摄影机，跟随砂田先生日渐虚弱的身影，陪他完成「待办事项」；包括和孙女玩耍、邀母亲旅行、洗礼、对老婆说「我爱你」……其中更收录珍贵的家族影像纪录，真挚互动趣味十足。无可避免，每个人都得面对告别时刻。砂田先生临终前一直说著「对不起」、「谢谢你」、「我爱你」三个简单不过的词，却承载了满满的爱与情，让我们上了一堂最深刻的生命教育。 　　阳光面对「终活」，积极迈向人生最终站 　　终活」是近来在日本中老年人间兴起的一股风潮，意谓趁身体仍健在时，事先為自己安排好身后事，用正面心态面对死亡。本片片名意為「终活笔记」，简单来说就是遗书，但比遗书轻鬆，不具法律效力，只是写给家人的叮嚀。不论是遗照挑选、告别式规划、遗產分配等相关事项，都由自己预先準备，為人生画下最美的句点。 　　砂田知昭的待办事项 　　To do 01. 造访神父 　　To do 02. 认真陪孙女玩 　　To do 03. 投票给自民党以外的人 　　To do 04. 筹备告别式 　　To do 05. 与母亲一起家族旅行 　　To do 06. 告别式场勘 　　To do 07. 再见小孙女 　　To do 08. 跟亲友告别，继承给儿子 　　To do 09. 受洗 　　To do 10. 第一次对老婆说我爱你

李时京（金钟仁饰）是一名沉迷于网络游戏的典型都市高中生，装作模范生的样子欺骗妈妈，被揭穿后全家搬到乡下生活。在截然不同的环境当中，通过学校特殊的“死亡教育”以及在临终医院里的义工活动，时京遇到了女主人公金春（金珍京饰）并且感受到了生命和爱情的意义，是一部青春阳光，有笑有泪的校园成长剧。

At a time when Pak Wiryo found it difficult to die because he had a 'hold', the children of his first wife and second wife were fighting over the inheritance.