高中女生冈村妮诺（饭丰万理江 饰）虽然渴望成为一个开朗乐观的女孩，然而现实生活中她始终无法与人顺畅自如交往。除了父母外，似乎只有那站在肩头假装标本并被她称为“老师”的鹦鹉（高桥茂树 配音）才是唯一说话对象。紧邻妮诺家的住宅里，住着一个帅气风趣的男孩，那就是与妮诺就读同一所学校的明星学生吉良悠二（中川大志 饰）。即便两人住得如此至今，但是性格有着巨大反差的两个人却从来没说过一句话，妮诺更不敢奢望与对方发生点儿什么。某天，妮诺从父母口中得知，吉良居然只剩下一年的生命了！紧接两人竟然阴差阳错成为了情侣。最后的365天，妮诺陪伴吉良同学一同走过……

高中女生冈村妮诺（饭丰万理江 饰）虽然渴望成为一个开朗乐观的女孩，然而现实生活中她始终无法与人顺畅自如交往。除了父母外，似乎只有那站在肩头假装标本并被她称为“老师”的鹦鹉（高桥茂树 配音）才是唯一说话对象。紧邻妮诺家的住宅里，住着一个帅气风趣的男孩，那就是与妮诺就读同一所学校的明星学生吉良悠二（中川大志 饰）。即便两人住得如此至今，但是性格有着巨大反差的两个人却从来没说过一句话，妮诺更不敢奢望与对方发生点儿什么。某天，妮诺从父母（安田显 & 三浦理惠子 饰）口中得知，吉良居然只剩下一年的生命了！紧接两人竟然阴差阳错成为了情侣。最后的365天，妮诺陪伴吉良同学一同走过…… 　　本片根据みきもと凜的同名漫画改编。

步入不惑之年的吉良奈津子（松岛菜菜子 饰）曾是广告代理公司东邦公告的王牌策划人，彼时她事业如日中天，强硬霸道的工作作风让下属们敬畏有加。一次机缘巧合，她结识了如今的丈夫（原田泰造 饰），随后步入婚姻，开启了相夫教子的生活，度过了三年的妊娠期和护理假期。心系事业的奈津子按时回归公司，却未能回到原来的岗位，而是被安排到营业部担任部长。她怀着一股不服输的劲儿，全身心投入工作。在此期间，她与新下属和旧同事之间不可避免地产生了矛盾。与此同时，奈津子也难以在公司和家庭之间找到完美的平衡。 不久后，奈津子便陷入了内忧外患的困境……

吉良奈津子 （ 松岛菜菜子 饰）是广告公司的策划部总监，年近四十才结婚生子。休完育儿假后，她时隔三年重返职场，却被分配到了完全不熟悉的营业开发部门，要面对陌生的领域和一群问题多多的员工。她事先和丈夫约定不会因工作影响照顾孩子，然而，家庭、事业各种问题矛盾一一爆发，职位被换、婆婆不满、丈夫出轨、亲子时间太少，让她焦头烂额。奈津子一边毫不畏缩地直面问题，一边为家庭事业两全其美而奋斗 。

7日7频道栏目的基本构架是以故事化的选题为主导，辅以生活服务类资讯信息。2012年停播。

Lord of the Frames: Kurt Kren 　　by Peter Tscherkassky 　　Translation: Elisabeth Frank-Großebner 　　reprinted from exhibition catalog, Kurt Kren at Wiener Secession, 1996 　　In 1964, "Wien Film" refused to print 6/64 Mama und Papa. When Kurt Kren handed in the original, the film grader said with an undertone of sympathy that, given the many cuts, one would not be able to make out anything, anyway. His worries were groundless: when Kren came to pick up the print, some people with flushed faces left the projection room, telling him to get out and never to come back again. A few months later, a similar scene took place at "Listo", where 9/64 O Tannenbaum was not accepted. Kren ultimately found a place that took his films, based on actions by Otto Muhl and Gunter Brus: a house on Peter Kaiser Gasse in Jedlersdorf, a neighborhood in the East of Vienna, on the other side of the river Danube. There, in the 21st district, on the most remote outskirts of town, films were developed and printed in self-made contraptions reminiscent of washing-machine drums. The man who ran the business single-handedly intimated that he was used to explicit images owing to customers from the blue movie scene. The facts that the credits in a few Kren works from those days are slightly out of place and that the name "Kren" next to the copyright sign goes beyond the edge of the frame can be explained in this context. On request, credits were in-house productions, but they were made with a camera that had no view finder, for which reason slipped boards were none too unusual. There were no objections to the films' content, formal and creative issues played a secondary role. 　　Be that as it may - the "© Kren" jutting out over the frame can easily be understood as a metaphor of the avant-garde and a harbinger of cinema outside the screen - Expanded Cinema. It is precisely during the "Jedlersdorf period" in his oeuvre that Kurt Kren demonstrates some of its best knacks to modern cinematography. 　　(Source: http://www.hi-beam.net/mkr/kk/kk-bio.... 　　http://www.ubu.com/film/kren.html

Lord of the Frames: Kurt Kren 　　by Peter Tscherkassky 　　Translation: Elisabeth Frank-Großebner 　　reprinted from exhibition catalog, Kurt Kren at Wiener Secession, 1996 　　In 1964, "Wien Film" refused to print 6/64 Mama und Papa. When Kurt Kren handed in the original, the film grader said with an undertone of sympathy that, given the many cuts, one would not be able to make out anything, anyway. His worries were groundless: when Kren came to pick up the print, some people with flushed faces left the projection room, telling him to get out and never to come back again. A few months later, a similar scene took place at "Listo", where 9/64 O Tannenbaum was not accepted. Kren ultimately found a place that took his films, based on actions by Otto Muhl and Gunter Brus: a house on Peter Kaiser Gasse in Jedlersdorf, a neighborhood in the East of Vienna, on the other side of the river Danube. There, in the 21st district, on the most remote outskirts of town, films were developed and printed in self-made contraptions reminiscent of washing-machine drums. The man who ran the business single-handedly intimated that he was used to explicit images owing to customers from the blue movie scene. The facts that the credits in a few Kren works from those days are slightly out of place and that the name "Kren" next to the copyright sign goes beyond the edge of the frame can be explained in this context. On request, credits were in-house productions, but they were made with a camera that had no view finder, for which reason slipped boards were none too unusual. There were no objections to the films' content, formal and creative issues played a secondary role. 　　Be that as it may - the "© Kren" jutting out over the frame can easily be understood as a metaphor of the avant-garde and a harbinger of cinema outside the screen - Expanded Cinema. It is precisely during the "Jedlersdorf period" in his oeuvre that Kurt Kren demonstrates some of its best knacks to modern cinematography. 　　(Source: http://www.hi-beam.net/mkr/kk/kk-bio.... 　　http://www.ubu.com/film/kren.html

Rajiv and Varsha, a couple with a five-year-old son, Rahul, moves to a new flat where Varsha faces paranormal activities. Can Varsha fight against supernatural forces to save their dream house, or she decides to leave her house to save her family?

已到不惑之年的吉良奈津子（松岛菜菜子 饰）曾是广告代理公司东邦公告的王牌策划人，当初她的事业不仅蒸蒸日上，其强硬霸道的作风也令下属忌惮三分。偶然机缘她邂逅了现在的丈夫（原田泰造 饰），于是走入婚姻殿堂，相夫教子，度过了三年的妊娠期和护理假期。心系事业的奈津子如期回归，然而却没能回到之前的岗位，而是被公司安排到营业部担任部长。抱着一股不服输的劲头，她咬紧牙关全力冲刺。在此过程中，与新下属、旧同事的矛盾不可避免发生。与此同时，奈津子也无法完美把握公司和家庭之间的平衡。 不久之后，奈津子便陷入了内忧外患的境地……

大正十四年（1925年），侠客飞车角（鹤田浩二 饰）为守护恋人阿丰（藤纯子 饰）拔刀杀人，逃亡途中偶遇老侠客吉良常（辰巳柳太郎 饰），在其劝说下选择自首。然而服刑期间，阿丰堕入玉之井风尘，与恩客宫川（高仓健 饰）暗生情愫…… 　　本片改编自尾崎士郎的经典小说《人生剧场》第三部《残侠篇》，由电影巨匠内田吐梦执导，堪称日本任侠电影巅峰之作，亦是该系列多次影视化中口碑最高的杰作。鹤田浩二饰演的飞车角，淋漓尽致地展现了任侠之魂与爱恨纠葛的苦闷；东映全明星阵容各展锋芒，人物塑造入木三分。片中激烈的厮杀场面尤为震撼，堪称任侠影迷不可错过的传世经典