云家不受宠的嫡女云娆被父母以百两黄金为价卖给狐妖献祭，原以为自己必死无疑，却不想狐妖大人救了她，二人还因灵珠开启了强绑定。只是云娆依然对狐妖心怀恐惧，于是选择偷偷离开，带着从灵珠处获得的能力回到云府，向伤害自己的家人复仇。云家人贪得无厌，见云娆不死竟想将她送给传闻中老丑将死的摄政王冲喜。

云家不受宠的嫡女云娆被父母以百两黄金为价卖给狐妖献祭，原以为自己必死无疑，却不想狐妖大人救了她，二人还因灵珠开启了强绑定。只是云娆依然对狐妖心怀恐惧，于是选择偷偷离开，带着从灵珠处获得的能力回到云府，向伤害自己的家人复仇。云家人贪得无厌，见云娆不死竟想将她送给传闻中老丑将死的摄政王冲喜。

大婚之日，夫君领兵出征，沈知微在家中苦等三载，谁知夫君凯旋归来后却要逼妻为妾，还扬言要迎娶丧偶的昔日白月光？知我者谓我心忧，不知我者谓我何求，既然他如此不仁不义，她果断和离，转身改嫁高冷国师，狂虐渣男。

孟北辰为了沈瑜霜在沈家受尽委屈，一次次的忍让使沈家变本加厉，致使沈瑜霜也对孟北辰误会重重，终于在百般屈辱之后，孟北辰心如死灰，放弃了坚守数年的爱情离开了沈瑜霜。当孟北辰再度归来的时候，却被沈家认为混不下去想要回到沈瑜霜身边吃软饭，随即对孟北辰百般侮辱，在关键时期孟北辰的妻子出现，沈瑜霜终于意识到孟北辰的真实身份是沈家巴结的权贵。

有没有哪一处能完美容下我，让我不再哭泣？女子穿梭于充满容器的未知世界，寻觅安身之处，也摸索自己内心空缺的形状。她四下张望，向往丛生，然而他人的目光，能否带来心底的安详？以容器隐喻安全场所，运用2D动画与陶艺、黏土等媒材，反映出自我认同的不同追寻状态。

有没有哪一处能完美容下我，让我不再哭泣？女子穿梭于充满容器的未知世界，寻觅安身之处，也摸索自己内心空缺的形状。她四下张望，向往丛生，然而他人的目光，能否带来心底的安详？以容器隐喻安全场所，运用2D动画与陶艺、黏土等媒材，反映出自我认同的不同追寻状态。

这是一个深受躁郁症折磨的女人，跨越一整个社会的自救。

The title and subtitle of this French miniseries are "Six Times Two; Over and under the media". The "six" refers to the fact that there are six episodes; the "two" has a double meaning. Each of these episodes is a collaboration between two people: Jean-Luc Godard and his long-time partner Anne-Marie Miéville, but the "two" also refers to the fact that each episode has a two-part structure. The individual episodes run 100 minutes each, split almost precisely into two 50-minute sections. 　　Each episode deals with a specific theme -- history, women, labour -- with the first half being an overview of that topic, and the second half being a documentary interview with one person who somehow represents that very broad topic! 　　This is a thoroughly Gallic documentary series, with everything that the term implies; despite my passion for Godard's films, I found 'Six Times Two' to be extremely talkative and static. Reportedly, Godard himself did not have a high opinion of this miniseries.

Nine filmmakers for one extraordinary archive. The Istituto Luce turned ninety in 2014, its long history intertwined with that of Italy itself, through cinema and that unique treasure trove of images known to all as the Luce Archives. To celebrate its anniversary, some of the most acclaimed rising filmmakers in Italy were invited to make a small film, with each director selecting ten minutes of footage from the archives, out of the thousands of hours of footage to be found there. 　　The result is an album full of different narratives. The film footage speaks of the outbreak of war, implorations of peace; building collapses and reconstruction; recollections of (possibly) lost landscapes, and lost realities; miracles, superstitions and dreams. It´s a weave of themes: women´s rights, sexuality, the meaning of a song, the Moon, in the form of fairy tales or diaries, pseudo-history or poetry; the words of great writers alongside the voices of the man on the street; starring real people, historical figures, and characters made up out of thin air. 　　Marco Bonfanti Tubiolo e la luna 　　Claudio Giovannesi Il mio dovere di sposa 　　Alina Marazzi Confini 　　Pietro Marcello e Sara Fgaier L´Italia umile 　　Giovanni Piperno Miracolo italiano 　　Costanza Quatriglio Girotondo 　　Paola Randi Progetto Panico 　　Alice Rohrwacher Una canzone 　　Roland Sejko L´entrata in guerra

The title and subtitle of this French miniseries are "Six Times Two; Over and under the media". The "six" refers to the fact that there are six episodes; the "two" has a double meaning. Each of these episodes is a collaboration between two people: Jean-Luc Godard and his long-time partner Anne-Marie Miéville, but the "two" also refers to the fact that each episode has a two-part structure. The individual episodes run 100 minutes each, split almost precisely into two 50-minute sections. 　　Each episode deals with a specific theme -- history, women, labour -- with the first half being an overview of that topic, and the second half being a documentary interview with one person who somehow represents that very broad topic! 　　This is a thoroughly Gallic documentary series, with everything that the term implies; despite my passion for Godard's films, I found 'Six Times Two' to be extremely talkative and static. Reportedly, Godard himself did not have a high opinion of this miniseries.