《7首小情歌》系列是由Wabi Sabi工作室制作的七个小剧集，集结了备受喜爱的新生代演员，例如普兰（Plan）、亚特（Art）、奔（Boun）、 普朗姆（Prem）、皮可（Peak）、波姆（Boom）、圣塔（Santa）、南思睿、苏德亚特（Soodyacht）和珊米（Sammy）。七个独立故事包括《你愿意当我的爱人吗？》、《很久很久以前》、《记得》、《节奏之心》《分手地带》、《 VS 爱》、《 50% 我的初恋》。仅能在爱奇艺APP和IQ.com网站线上收看。 7 Project的创作是基于 7首歌，即由 Earth和Santa演唱的《 Would You Be My Love》、Boun Noppanut演唱的《 เพิ่งเข้าใจ 》、 Sammy演唱的《 แด่ความคิดถึง 》、 Phatthasit演唱的《Safezone》、Rattawit演唱的《 เลิกเก่ง》、Boom Krittapak 和Peak Peemapol演唱的 《โดนตก》以及Perth Tanapon 演唱的《อย่าใกล้เกิน 》 ，与MV同时发行的7首歌曲都收获了热烈的反响。而这七个故事又讲诉了7种不一样的爱情，同时还表达了爱的多样化。当现实与爱情碰撞，会擦出怎样的火花呢，让我们拭目以待吧！

顾家千金顾小雨为助练习生男友傅泽昀成名，退居幕后七年。求婚前却发现自己是“恋爱练习生”，傅心中另有乐队前成员杨心悦。伤心时她接受首富陆砚深求婚。杨心悦归来挑衅，顾小雨解散乐队，扶持乐手陈严并公开“星雨”身份，在音乐挑战中获胜。杨心悦屡次反击失败，又利用傅泽昀的感情发动舆论攻击，最终被顾小雨、陆砚深揭穿混乱私生活。傅泽昀沦落街头，杨心悦乞讨度日。顾小雨与陆砚深则迎来爱情结晶，走向幸福。

After unhitching her camper at a lakeside in the mountains, Faye finds her rhythm cooking meals, retrieving crawfish from a trap, and scanning her old box radio for a station. She looks expectantly at the approach of a car or the mailman, explaining to neighboring campers that she’s waiting for a childhood sweetheart she hasn’t seen in decades. When he does arrive, Lito and Faye, both widowed, spend an evening reminiscing about their lives, losses, and loneliness. 　　A whimsical romance, Max Walker-Silverman’s captivating debut feature shows an "American West" full of quietude, compassion, and introspection. It’s both naturalistic and vaguely surreal, blurring our sense of time and beauty, loss and vivacity, the grandiose natural world and intimate humanism. Career performances from Dale Dickey and Wes Studi bring an inescapable presence to people we don’t often see portrayed on film. They are gentle outliers possessed of resilience and existential spirit, seeking to process something elusive: a feeling of love for what’s no longer there. Like Faye turning her radio dial, they listen hopefully for the faint trace of a song.

Feral weaves a tale of survival as a group of 20-somethings learn about love, loss and friendship while living in the vibrant, artistic queer community of Memphis.

Feral weaves a tale of survival as a group of 20-somethings learn about love, loss and friendship while living in the vibrant, artistic queer community of Memphis.

After unhitching her camper at a lakeside in the mountains, Faye finds her rhythm cooking meals, retrieving crawfish from a trap, and scanning her old box radio for a station. She looks expectantly at the approach of a car or the mailman, explaining to neighboring campers that she’s waiting for a childhood sweetheart she hasn’t seen in decades. When he does arrive, Lito and Faye, both widowed, spend an evening reminiscing about their lives, losses, and loneliness. 　　A whimsical romance, Max Walker-Silverman’s captivating debut feature shows an "American West" full of quietude, compassion, and introspection. It’s both naturalistic and vaguely surreal, blurring our sense of time and beauty, loss and vivacity, the grandiose natural world and intimate humanism. Career performances from Dale Dickey and Wes Studi bring an inescapable presence to people we don’t often see portrayed on film. They are gentle outliers possessed of resilience and existential spirit, seeking to process something elusive: a feeling of love for what’s no longer there. Like Faye turning her radio dial, they listen hopefully for the faint trace of a song.

歌曲改编电影依然没完没了，继《小苹果》《栀子花开》《一生有你》《睡在我上铺的兄弟》《她来听我的演唱会之后》，苏打绿的《小情歌》也要被搬上大银幕，影片由合一影业出品。 最开始很多人都怀疑，和电影不相干的歌曲能拿来拍成电影吗？但《同桌的你》以4亿多的票房以小搏大，如今看来，歌曲改编电影只是基于一个品牌基础而衍生出来的电影再创作，这两年已有不少先例。而被选中改编电影的这些歌，很多都对80后90后观众影响非常大。而爱情主题与校园主题本身，也让这些热门歌曲成为了最适合改编成电影的IP。

A hybrid work, Ana Elena Tejera’s portrait of her grandmother utilizes archival images, re-enactment and “biographical performance” to exorcise painful personal experience, family secrets, and Panamanian military dictatorship in the 1980s a history felt “through the skin.” Grandmother recounts how her husband returned from military training in Israel, fundamentally altered. “Why did God make me love you?” she asks, underlining a domain of fear, entrapment, and hidden violence. A moment of joy in movement ruptures memory’s prison-house, as grandmother dances alone in her old living room, a room where moving her body had long been forbidden.

A hybrid work, Ana Elena Tejera’s portrait of her grandmother utilizes archival images, re-enactment and “biographical performance” to exorcise painful personal experience, family secrets, and Panamanian military dictatorship in the 1980s a history felt “through the skin.” Grandmother recounts how her husband returned from military training in Israel, fundamentally altered. “Why did God make me love you?” she asks, underlining a domain of fear, entrapment, and hidden violence. A moment of joy in movement ruptures memory’s prison-house, as grandmother dances alone in her old living room, a room where moving her body had long been forbidden.

Raissa, Henriette and Theresa have completed several years of their long prison sentences. On their first 24 hours vacation the traffic employees are on strike. So the three meet and spend the time together. They talk about memories, their offences and fears. They become friends.