母亲离世后，她以为全世界都没人爱她了，没想到继母的到来打破了她的想法，继母和父亲离婚，却把她带走了，到城里以后继母细心照顾她，事事为她着想，继母的这份无声的温暖终破防林晓，让她走出阴霾，与家庭和解，重获人生暖意。

超戳心的年代重生微剧！母子俩意外从飞机穿越回 1980 年代，带着上一世的悔恨与遗憾重启人生。前世他们只顾追逐财富，怠慢自家人，即便日子富足，却落得口碑尽失的结局。这一世，母子二人幡然醒悟，决心弥补过往亏欠，用心善待每一位家人，用温情治愈曾经的隔阂。更凭借上一世的创业经验与先知优势，精准抓住八零年代的黄金机遇，一步步搞事业、谋发展，从平凡日子走向富足生活。剧情节奏紧凑，年代氛围感拉满，既有母子同心的温情互动，又有逆袭致富的酣畅爽感，更藏着亲情救赎的戳心瞬间。看母子二人如何在八零年代，一边修复亲情，一边逆袭翻盘，改写人生轨迹，绝对让你看得又暖又上头！

上一世，安欣然因丈夫郑向阳挪用儿子救命钱接济白月光陈芊芊，痛失爱子后绝望离世，意外重生回到 15 年前郑向阳提亲之日。 为改写命运，她果断退婚拒嫁，誓死守护母亲与家庭。面对债务危机，她巧用服装厂边角料创业制拖把。

讲述许默重生回到许家后，从前世被家人忽视、陷害致死的经历中觉醒，决定断绝与虚伪家庭的关系，独立门户的故事。 许默重生后面对家人再次试图栽赃污蔑，不再像前世那样忍气吞声，而是坚定反抗，拒绝承认莫须有的罪名。许默最终决定叛出家门，净身出户，与虚伪的家人彻底割裂

人生の最期、あなたなら誰に、何を伝え、残しますか？或いは残さないですか？ 　　今、自分らしい最期とは何か、かつてないほどに関心が高まっています。人それぞれに「生き方」があるように、それぞれに人生の「終い方」（しまいかた）があります。そこには、その人の生き様が色濃く反映され、残された人たちの生き方にも影響を与えます。 　　番組の進行役は、落語家の桂歌丸さん（７９歳）。入退院を繰り返し、医師に止められながらも地方公演を続け、「高座の上で死ねれば本望」と言います。それは、ある人に最期に「託された」から・・・。 　　番組では、漫画家の水木しげるさんの知られざる「終い方」にも迫ります。また、「あなたならどう終いたいか？」「心に残る終い方は？」など「ラジオ深夜便」等で募集、およそ５００通が寄せられました。仕事一筋だった夫が最期に家族に伝えた言葉。幼い子を持つ若き父親が全身で遺そうとするものは、そしてそれを受け止める家族は・・・。一人一人の「終い方」に密着します。 　　ナレーションは、女優の樋口可南子さん。最期の時を、『縁起でもない』とタブー視せずに、家族や大切な人と、あるいは一人で、穏やかに考えてみませんか。

主角重生回到1987年，面对家庭困境，包括妻子自杀、女儿失去母亲。女儿妮妮成为主角生活的重心，决心为女儿创造更好的生活。主角在生意场上经历起伏，包括成功与失败、合作与背叛。.面对利益诱惑和人性贪婪，主角坚守原则，保持诚信经营。通过困难与挑战，主角深刻理解到责任与家庭的重要性。

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.