一个亿万富豪企业家冲动地制作一部经典电影，于是找来知名电影人萝拉执导这部野心勃勃的大制作，众星云集的主演阵容里有两位重量级、但麻烦多多的演员：荷里活型男菲力斯和偏激的舞台剧演员伊凡，两个传奇人物同时也是死对头。经过萝拉设下一连串光怪陆离的试炼之后，菲力斯和伊凡不只要正面交锋，还要保全各自的名声。当电影终于开拍时，谁能笑到最后？

The Strange brothers, Winston and Myles, are having a party and they've invited all of the local slackers and freaks. But a masked man shows up and starts strangling people to death at every available opportunity.

1996年1月12日，台北县板桥浮洲桥流浪狗收容所，有两位义工妈妈发现收容所没有喂食饲料，造成狗吃狗事件。两位义工妈妈：杨秋华与汤妈妈，从此主动每隔两三天就到这个收容所喂食和照顾两三百只流浪狗。3月16日，我和摄影师第一次去拍摄，我才真正了解，原来收容所就位于垃圾掩埋场内，台湾是把流浪狗当成垃圾处理。 　　1996年4月3日，杨秋华在浮洲桥收容所发现“随和”时，它是一只一个多月大的小白狗，它长得并不好看，对人很有警觉性。为了怕以后收容它的人跟它不好相处，才把它取名随和。随和在李政道兽医师的诊所就医，杨秋华与李医师开始一段真诚的争辩。两人的争辩，没有谁对谁错，只有令人动容的感受……

1996年1月12日，台北县板桥浮洲桥流浪狗收容所，有两位义工妈妈发现收容所没有喂食饲料，造成狗吃狗事件。两位义工妈妈：杨秋华与汤妈妈，从此主动每隔两三天就到这个收容所喂食和照顾两三百只流浪狗。3月16日，我和摄影师第一次去拍摄，我才真正了解，原来收容所就位于垃圾掩埋场内，台湾是把流浪狗当成垃圾处理。 　　1996年4月3日，杨秋华在浮洲桥收容所发现“随和”时，它是一只一个多月大的小白狗，它长得并不好看，对人很有警觉性。为了怕以后收容它的人跟它不好相处，才把它取名随和。随和在李政道兽医师的诊所就医，杨秋华与李医师开始一段真诚的争辩。两人的争辩，没有谁对谁错，只有令人动容的感受……

电影讲述了一段跨越时间和空间的奇幻的爱情故事，过气音乐才子苏哲（许之糯饰）和小镇女摄影师小米（周思竹饰）通过神秘的心灵感应，共享听觉和触觉，并跨越时空的爱情故事。两个受伤的人彼此依偎，互相取暖，慢慢爱上对方，可决定相约见面后，他们却发现二人彼此并不在同一个时空，过去的她和未来的他该如何跨越时间和空间继续相爱？

电影讲述了一段跨越时间和空间的奇幻的爱情故事，过气音乐才子苏哲（许之糯饰）和小镇女摄影师小米（周思竹饰）通过神秘的心灵感应，共享听觉和触觉，并…

"The Theme" is a film that had to stay on the shelf for almost ten years because of its "theme". Mikhail Ulyanov plays Kim Yesenin, a disillusioned and cynical playwright who uses the system by writing the conformist plays and enjoys the benefits of being the officially recognized and appointed "great Soviet writer" but who in reality has been used by a system and spent all the talent he ever had in writing the plays that had no artistic value whatsoever. Bitter irony lies in the name of the character: Sergei Yesenin was a real life enormously talented, widely popular and beloved Russian poet who committed suicide at the age of 30 in 1925 because he could not fit in the Soviet Russia. Kim Yesenin in the movie suffers the writing block and arrives to the small provincial town with a friend and a young mistress in search of inspiration. He meets an attractive, intelligent and well educated museum guide named Sasha (Inna Churikova never looked so beautiful and sophisticated and I finally understood why Panfilov always had been fascinated by her face, never conventionally pretty) who used to be a big fan of his earlier works but has a lot of unflattering things to say about his officially praised outings. Sasha is in love with a talented historian who had made a very difficult and life changing decision to emigrate from the Soviet Union. He had lost his job by becoming a dissident and had to work as a gravedigger to support himself while waiting for permission to leave the country. Those who never had to emigrate from their country knowing that they might leave forever and never be allowed to go back to see their loved ones and the places dear to their heart again would not fully understand why Panfilov's film had to stay on the shelf for almost ten year after it was completed. It was released only during the "perestroika" in 1987 and I saw it then. I respect Panfilov for his siding with the real artists rejected by the system but his film is not only a courageous statement against the conformity suffocating cultural life under the Brezhnev regime which would be later called "period zastoya" or "stagnation", it is a memorable work of cinema with very good performances from his muse, Inna Churikova, Mikhail Ulyanov, and supporting cast.

"The Theme" is a film that had to stay on the shelf for almost ten years because of its "theme". Mikhail Ulyanov plays Kim Yesenin, a disillusioned and cynical playwright who uses the system by writing the conformist plays and enjoys the benefits of being the officially recognized and appointed "great Soviet writer" but who in reality has been used by a system and spent all the talent he ever had in writing the plays that had no artistic value whatsoever. Bitter irony lies in the name of the character: Sergei Yesenin was a real life enormously talented, widely popular and beloved Russian poet who committed suicide at the age of 30 in 1925 because he could not fit in the Soviet Russia. Kim Yesenin in the movie suffers the writing block and arrives to the small provincial town with a friend and a young mistress in search of inspiration. He meets an attractive, intelligent and well educated museum guide named Sasha (Inna Churikova never looked so beautiful and sophisticated and I finally understood why Panfilov always had been fascinated by her face, never conventionally pretty) who used to be a big fan of his earlier works but has a lot of unflattering things to say about his officially praised outings. Sasha is in love with a talented historian who had made a very difficult and life changing decision to emigrate from the Soviet Union. He had lost his job by becoming a dissident and had to work as a gravedigger to support himself while waiting for permission to leave the country. Those who never had to emigrate from their country knowing that they might leave forever and never be allowed to go back to see their loved ones and the places dear to their heart again would not fully understand why Panfilov's film had to stay on the shelf for almost ten year after it was completed. It was released only during the "perestroika" in 1987 and I saw it then. I respect Panfilov for his siding with the real artists rejected by the system but his film is not only a courageous statement against the conformity suffocating cultural life under the Brezhnev regime which would be later called "period zastoya" or "stagnation", it is a memorable work of cinema with very good performances from his muse, Inna Churikova, Mikhail Ulyanov, and supporting cast.

关于增强现实、可穿戴技术和其他可影响未来生活的创新有诸多令人惊讶的预测，这部系列纪录片对此进行了探讨

二次元UP主夏茉拿到了C站录取通知书前往海市，手机被沈钧尧摔坏，本想上千理论，却被沈钧尧无情送走，随后夏茉却发现沈钧尧是自己房子的租户，两人商谈房屋归还问题，，但花边记者却无赖将夏茉和沈钧尧绑定营销，为了公司声誉，沈钧尧与夏茉签订“三个月假装情侣”的合约，当夏茉在房间乱逛时，却发现一个全身赤裸的男人，夏茉陷入了无尽遐想，这沈钧尧是绑架犯！