Much sought-after Danish architect Bjarke Ingels (one of Time's 100 Most Influential People) embarks on his most ambitious project yet, NYC's new World Trade Center, in this energetic documentary. 　　As a kid, Ingels considered the flat roof on his parents' house to be a waste of space - with considerable potential. His attitude to urban design was clearly in place from the start. Ingels's projects in his homeland (VM Houses, Mountain Dwellings and 8 House) gained him international acclaim, with their focus on liveability and renewables. His tradition-defying and wholehearted approach – "there is nothing more amazing than building buildings" – secured him his largest project yet, the new World Trade Center. Ingels, tagged "one of the design world's biggest stars" by The Wall Street Journal, relocates half his company to NYC. Award winning artist-director Schröder captures the acceleration in Ingels' already hectic life, and the architect's struggles to balance ambition, health and relationships.

婚礼当天，移民家庭的年轻人面临一些问题，需要安排最后所需的钱。 为了纪念这件大事，家人都尽其所能，卖掉私人用品以购买足够的婚礼所需来办一个体面的聚会。

大宴国“女皇”在落水后出现记忆错乱，陷入作精“男皇后”为其编织的一场“谎言美梦”里，内外危机四伏，疑云重重，在女皇不断发现自己的身份真相的过程中，也逐渐爱上这位默默守护她、甘为绿叶助她圆梦的枕边人。

朝日台制作播出的悬疑剧，由冢本连平、宝来忠昭、小松隆志执导，黑岩勉担任编剧，玉森裕太主演，小山庆一郎、古川雄辉共演 　　该剧改编自绢田村子的同名漫画，讲述莫名其妙总是成为杀人案第一发现人的模特弥木圭与朋友们一起破案的故事。 模特弥木圭（玉森裕太饰）经常莫名其妙成为杀人现场的第一发现人，更因此屡屡面临被冤枉为凶手的危机。为了证明自己的清白，他与同为模特的朋友——沉迷推理的周防斋（小山庆一郎饰）、擅长打探情报的藤马（古川雄辉饰）组成探兴趣小队，用“华丽的手法”破解案件真相

一个患有社交恐惧症的男人被一个天真笨拙的小生物跟踪……

A small town newspaper editor has to decide which story to headline of the front page.

成绩优异处事圆滑的高二学生·矢口八虎，每日与狐朋狗友们一起玩乐。 无论是谁都会觉得是个“现充”的八虎，实际上一直觉得有点空虚。 某日，在美术室见到的一副画作，夺走了八虎的心。 「绘画，是不同于文字的语言」 通过绘画第一次真实地表达自己情绪的八虎，发现了美术的有趣之处，冲动之下拿起了素描本。 然后，八虎的升学志向确定了下来。 「第一志愿，东京艺术大学」 距离录取比例200倍的东京艺术大学考试日期， 还有650天。

本片改编自同名漫画，讲述了一个空虚的高中生以一幅画为契机，认真挑战美术世界，以国内最难考的美术大学为目标奋斗的故事。既没有美术经验也没有才能的普通人主人公矢口八虎，面对拥有天才绘画能力的对手们，以及无法回答的艺术这一壁垒而苦恼，但他却以热情为武器，用压倒性的努力克服了困难。

本片改编自同名漫画，讲述了一个空虚的高中生以一幅画为契机，认真挑战美术世界，以国内最难考的美术大学为目标奋斗的故事。既没有美术经验也没有才能的普通人主人公矢口八虎，面对拥有天才绘画能力的对手们，以及无法回答的艺术这一壁垒而苦恼，但他却以热情为武器，用压倒性的努力克服了困难。

What are a few references among friends? But for Cal and his circle, it’s hardly a few. They barely conduct a single conversation that doesn’t revolve around architecture, literature, theology, history. Each set of ideas leads seamlessly into the next, until the flow they form is endless, there are always more footnotes, theoretical perspectives, cantos, translations to cite, so many ways of keeping everyday life at bay. When Cal, Evelyn, Chris et al. exchange all this absurdly specific knowledge, they do so with such earnest relentlessness that it’s hard to suppress a smile, although melancholy is never far away. Cal is frequently by himself, turning pages in silence in shadowy rooms, while Evelyn paces the streets of Philadelphia when she can’t sleep, at night, alone. Even when the group gets together, they often remain apart in the frame with no wider shot to connect them, one face holds forth, another stays silent, are they even in the same place at all? Evelyn wishes it were possible to speak more directly, but perhaps that’s the defining feature of the period, not the classical one, this one. You speak, you listen, there’s nothing in between.