丫鬟许阿念被替嫁给靖北王秦夜。为了让秦夜爱上她。许阿念在秦夜面前猛刷存在感。两人终于相爱。秦夜为报二公主的仇身受重伤，为救爱人，许阿念只能忍痛离开心上人，然而当得知这一切都是追求者顾谦的安排后，不论顾谦怎么解释，许阿念都没有原谅他。她告诉对方自己已有心上人。并在她的坚持下等来了秦夜。

2018年5月和6月，Jean Gabriel P_Riot与位于Ivry Sur Seine的一所高中的10名电影班学生合作，开展了一项将电影与政治结合起来的项目。学生们在摄像机前和摄像机后工作，重新布置罢工、抵抗和劳资纠纷的场景，这些电影可以追溯到20世纪60年代末到70年代末，包括让-卢克-戈达尔和阿兰-坦纳的电影。nos d_faites汇集了调查结果，并增加了采访，在采访中，导演询问学生他们刚刚表演的场景，关于“阶级”、“工会”和“政治参与”等概念，以及更广泛的社会背景。这是一个简单，但尖锐的设置，让观众一瞥年轻一代如何看待政治和过去的政治电影。这部影片还记录了导演试图激怒学生的企图。在导演和学生似乎处于平等地位的遭遇中，基于从未见过的导演更多类似于老师的提问，以及此时此刻对革命的思考：起义的表现反映了同样的情况。这会导致一个真实的发生吗？ 　　In May and June 2018, Jean-Gabriel Périot collaborated with ten students in a film class at a high school in Ivry-sur-Seine on a project that unites cinema with politics. The students worked both in front of and behind the camera, restaging scenes of strikes, resistance, and labour disputes from films dating from the late 1960s to the late 1970s, including ones by Jean-Luc Godard and Alain Tanner. Nos défaites assembles the results, and adds interviews in which the director queries the students about the scenes they’ve just acted in, about such concepts as “class,” “labour union,” and “political engagement,” about wider social contexts. It’s a simple, yet trenchant setup, affording viewers a glimpse of how a younger generation sees politics and the political cinema of the past. The film also documents the director’s attempts to stir up the students. The conversations vary between encounters in which director and students seem on an equal footing, based on more teacher-like questioning by the never-visible director, and contemplations of revolution in the here and now: the performance of an uprising follows reflection upon the same. Could this lead to one happening for real? 　　回到1968年的电影时代，继续对重放从过去跳出来的电影节选的年轻人进行今天的采访，我们的失败描绘了我们当前与政治的关系。我们的失败，还是我们有足够的力量来面对今天的混乱？ 　　By going back into the cinema of the 1968 era and going forward with present-day interviews of young people who replay excerpts of film s jumping out from the past, Our Defeats draw the portrait of our current relations with politics. Our Defeats, or do we keep enough forces to confront ourselves with the chaos of today?

影片概述 . . . . . . 　　公眾瞭解陳翠梅是從她的第一部劇情長片《用愛征服一切》，但是大家卻忘了她是個多產的短片作者，已經在業界獲得了倆個重要獎項. 　　2008年，在籌備她的第二部長片時，陳翠梅決定每個月拍攝一部短片，但最終只拍成了7部短片。她做成了短篇集，叫《我的失敗作》。 　　Synopsis： 　　Tan Chui Mui is known for her successful first feature film Love Conquers All, and many forgot that she is a very productive short filmmaker, who had won big prizes in two prestigious short film festival in the world: Principal Prize in Oberhausen Short Film Festival with A Tree in Tanjung Malim ( 2005), and Grand Prix in Clermont-Ferrand Short film Festival with Everyday Everyday (2009). 　　In 2008, while developing her second feature films, she had this project of making a short film every month. She had only managed to make 7 short films, and she called them All My failed attempts.

影片概述 . . . . . . 　　公眾瞭解陳翠梅是從她的第一部劇情長片《用愛征服一切》，但是大家卻忘了她是個多產的短片作者，已經在業界獲得了倆個重要獎項. 　　2008年，在籌備她的第二部長片時，陳翠梅決定每個月拍攝一部短片，但最終只拍成了7部短片。她做成了短篇集，叫《我的失敗作》。 　　Synopsis： 　　Tan Chui Mui is known for her successful first feature film Love Conquers All, and many forgot that she is a very productive short filmmaker, who had won big prizes in two prestigious short film festival in the world: Principal Prize in Oberhausen Short Film Festival with A Tree in Tanjung Malim ( 2005), and Grand Prix in Clermont-Ferrand Short film Festival with Everyday Everyday (2009). 　　In 2008, while developing her second feature films, she had this project of making a short film every month. She had only managed to make 7 short films, and she called them All My failed attempts.

2018年5月和6月，Jean Gabriel P_Riot与位于Ivry Sur Seine的一所高中的10名电影班学生合作，开展了一项将电影与政治结合起来的项目。学生们在摄像机前和摄像机后工作，重新布置罢工、抵抗和劳资纠纷的场景，这些电影可以追溯到20世纪60年代末到70年代末，包括让-卢克-戈达尔和阿兰-坦纳的电影。nos d_faites汇集了调查结果，并增加了采访，在采访中，导演询问学生他们刚刚表演的场景，关于“阶级”、“工会”和“政治参与”等概念，以及更广泛的社会背景。这是一个简单，但尖锐的设置，让观众一瞥年轻一代如何看待政治和过去的政治电影。这部影片还记录了导演试图激怒学生的企图。在导演和学生似乎处于平等地位的遭遇中，基于从未见过的导演更多类似于老师的提问，以及此时此刻对革命的思考：起义的表现反映了同样的情况。这会导致一个真实的发生吗？ 　　In May and June 2018, Jean-Gabriel Périot collaborated with ten students in a film class at a high school in Ivry-sur-Seine on a project that unites cinema with politics. The students worked both in front of and behind the camera, restaging scenes of strikes, resistance, and labour disputes from films dating from the late 1960s to the late 1970s, including ones by Jean-Luc Godard and Alain Tanner. Nos défaites assembles the results, and adds interviews in which the director queries the students about the scenes they’ve just acted in, about such concepts as “class,” “labour union,” and “political engagement,” about wider social contexts. It’s a simple, yet trenchant setup, affording viewers a glimpse of how a younger generation sees politics and the political cinema of the past. The film also documents the director’s attempts to stir up the students. The conversations vary between encounters in which director and students seem on an equal footing, based on more teacher-like questioning by the never-visible director, and contemplations of revolution in the here and now: the performance of an uprising follows reflection upon the same. Could this lead to one happening for real? 　　回到1968年的电影时代，继续对重放从过去跳出来的电影节选的年轻人进行今天的采访，我们的失败描绘了我们当前与政治的关系。我们的失败，还是我们有足够的力量来面对今天的混乱？ 　　By going back into the cinema of the 1968 era and going forward with present-day interviews of young people who replay excerpts of film s jumping out from the past, Our Defeats draw the portrait of our current relations with politics. Our Defeats, or do we keep enough forces to confront ourselves with the chaos of today?

一朝被迫害，沈衔月意外的觉醒了弹幕视角，有人想要诬陷她、暗杀她，甚至联手布局对付她，她借弹幕预判了这些阴谋，逆袭成为了冷面帝王裴玄的最爱。她一步步的揭穿所有的谜题、制止叛乱，最终成功登顶后位，和冷面帝王裴玄一起共成一段佳话。

一朝被迫害，沈衔月意外的觉醒了弹幕视角，有人想要诬陷她、暗杀她，甚至联手布局对付她，她借弹幕预判了这些阴谋，逆袭成为了冷面帝王裴玄的最爱。她一步步的揭穿所有的谜题、制止叛乱，最终成功登顶后位，和冷面帝王裴玄一起共成一段佳话。

蔡斯·菲利普斯（海伦·米伦女爵士饰）是玛莎葡萄园的终身居民，她嫁给了理查德（博·布里奇斯饰），和这个地区一样，成长为中上层阶级。她对人为的厌恶导致她彻底崩溃，理查德尽职尽责地试图通过雇佣“母亲的助手”伊丽莎白（凯拉·塞奇威克饰）来恢复他们的家庭。蔡斯崩溃了，对伊丽莎白刻薄至极，直到他们发现彼此的相似之处。一种牢固的关系发展起来，影响着他们个人和家庭的救赎和毁灭。