米奇和戴夫在一起长大，曾经是最要好的朋友。在一起时间长了，两个人难免会在脾气、性格上有些相似。随着时间的逝去，好朋友也会有自己的生活而疏于联系，所以在成年后，米奇和戴夫简直成了截然不同的两个人。　　戴夫现在是一个工作勤勉的律师，一个好丈夫和几个孩子的爹；而米奇则依然单身，工作不稳定，年龄不小了却还孩子气十足，从来不为明天考虑，整日和漂亮姑娘厮混。在戴夫的眼里，米奇拥有他所幻想的一切：高薪的工作、极为崇高的社会地位、漂亮的对他崇拜有加的老婆、完满的家庭和和谐的生活。可是在米奇看来，戴夫的那种无忧无虑、没有负担和责任的生活才是“梦想中”的完美。　　在一个喝得醉醺醺的晚上，两个人对生活大发感慨。在许愿喷泉和女神下尿尿的时候，他们不禁说出了“我想要你的生活”的愿望。结果第二天早上起来，戴夫和米奇互换了身体。　　有了负担的米奇和丢掉了负担的戴夫对这种互换的生活一开始还觉得很新鲜，但是渐渐地，他们才发现对方的生活并没有表面上看起来那么光鲜亮丽。三个孩子的确很烦，单身生活也并非那么有趣。在律师事务所里，漂亮性感的女同事赛伯瑞纳频频向住在米奇身体里的戴夫示好；而与米奇长期分居的老父亲现在又重出江湖，跑来和儿子“捣蛋”，这弄得变成了单身汉的戴夫焦头烂额。　　互换了身体的戴夫和米奇都在小心翼翼地过着他人的生活，生怕自己的愚蠢和以往的性格将好朋友的生活毁于一旦。与此同时，他们还要努力地找到把身体换回来的办法。

经历中年危机的电影人纳米尔在拍摄一部关于家族哀悼的纪录片期间，前往开罗主持编剧研讨会。与一群渴望创作自由的年轻写作者的相遇，触发了一场蜕变——他终于窥见那部迟迟未能完成的电影的初衷：通过全然拥抱生活，向父母致以最深的敬意。

杨念念童年丧父，在同母异父姐姐阴影下被欺凌，读书机会和男友都被抢，绝望投河后灵魂互换，逆风翻盘，收获深情老公和乖巧儿子。

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

如果能重活一次！那就再重活一次！