最著名、最多人喜愛的島津作品。不愧小市民映畫大師，他把毗鄰兩戶人家的日常往來，刻劃得溫煦親睦而自然。兩家的父親是酒友，兩戶的母親會照應對方的起居，這家的女學生八重和那家的大學生惠太郎更親如兄妹。八重的姊姊和丈夫鬧翻回娘家，傾心於惠太郎，令惠太郎心亂如麻。八重和惠太郎你來我往的嬉笑和舉手投足最令人驚喜，你不會想到三十年代的電影，會把情事刻劃得這麼率真坦然。名導豐田四郎、吉川公三郎、木下惠介都是幕後功臣。

《八重之樱》讲述了会津藩的炮术师傅山本谦八和佐久夫妻之女新岛八重一生87年间发生的事。新岛八重（绫濑遥 饰）出生于会津藩士家中，在戊辰战争中和五百名女子一起固守会津的鹤城，到明治年间嫁给襄，作为基督教传教士传道，积极从事教育活动，是个顽固的女人，在那个男尊女卑的时代称得上是女中豪杰，被称为是幕末时代的贞德。之后，在侵华战争、日俄战争中，八重又和会津的伙伴一起作为日本第一批护士共赴战场，因此又获得“日本的南丁格尔”这一美名。

2013年の大河ドラマ「八重の桜」の主人公・山本八重の生まれ故郷・福島の魅力を、豪華なキャストたちがたっぷりと紹介します。まず、八重の生まれた会津の城下町を旅するのは、綾瀬はるか、西島秀俊、長谷川博己の3人。匠の技が光る伝統工芸の店などを訪ね、会津に今も残る江戸時代の息吹を体感します。一方、戊辰戦争の激戦地となった白河を旅するのは、剛力彩芽と柳沢慎吾。白河の食を食べて、食べて、食べ尽くします。さらに、鶴ヶ城を中心に会津の武家文化の神髄に触れる旅に出かけるのは、綾野剛、稲森いずみ。松平容保役の綾野と照姫役の稲森が、勇敢な会津武士道の原点を訪ねます。 　　そして、この旅にはもう1つの目的が。それは、旅人たちが指令に従い、オリジナルのガイド本「八重の桜map」を作成すること。彼らに指令を出すのは、郡山出身の福島応援団長・西田敏行（ナレーション出演）。アシスタントの八重の桜マスコットキャラクター・八重たんとともに福島の楽しみ方をたっぷりとお届けします。

讲述铁路人一线的工作及环境，同时介绍铁路背后鲜为人知的故事。诠释了铁路人的无私奉献、担当品格和奋斗精神。

近未来，美英失去了女儿恩书，订购了长得和他一模一样的机器人。但是从琐碎的行为中感受到异质感，苦恼着退货

《音乐链接》是一档聚焦音乐人之间情感与创作联系的音乐节目。它摒弃了传统由主持人串场、逐个介绍嘉宾的形式，由音乐人郑在型和 Code Kunst 担任主持，以“音乐人推荐音乐人”的方式串联节目内容。 节目开始时，两位主持人先介绍首位嘉宾，嘉宾完成演唱与访谈后，亲自引出下一位音乐人。这位新嘉宾可能是他们未曾谋面却十分钦佩的同行，也可能是关系亲密的好友或合作伙伴。随后，新嘉宾同样进行表演和访谈，再引出下一位……以此形成一条由音乐人亲自“推荐+连接”的链条。每次嘉宾的揭晓都充满悬念，每组关系都饱含惊喜与情感。节目凭借这一独特机制，展现音乐人间的真实情感与艺术共鸣，为观众带来新颖又温馨的观看感受。

《音乐链接》是一档聚焦音乐人之间情感与创作联系的音乐节目。它摒弃了传统由主持人串场、逐个介绍嘉宾的形式，由音乐人郑在型和 Code Kunst 担任主持，以“音乐人推荐音乐人”的方式串联节目内容。 节目开始时，两位主持人先介绍首位嘉宾，嘉宾完成演唱与访谈后，亲自引出下一位音乐人。这位新嘉宾可能是他们未曾谋面却十分钦佩的同行，也可能是关系亲密的好友或合作伙伴。随后，新嘉宾同样进行表演和访谈，再引出下一位……以此形成一条由音乐人亲自“推荐+连接”的链条。每次嘉宾的揭晓都充满悬念，每组关系都饱含惊喜与情感。节目凭借这一独特机制，展现音乐人间的真实情感与艺术共鸣，为观众带来新颖又温馨的观看感受。

讲述了因遇到克隆人而被卷入令人震惊的事件中的刑警和为了生存而不得已互相展开对决的克隆人之间发生的故事，实力派演员郑在咏、金廷恩以及新人演员梁世宗确定出演。郑在咏在剧中饰演为了守护珍贵的东西而做出错误选择的老练刑警张得天，金廷恩饰演对成功野心勃勃的检察官崔朝惠，梁世宗则同时饰演失去记忆的嫌疑人“成俊”和给成俊扣上了莫须有罪名的克隆人“成勋”，令观众对这一追击惊悚题材期待不已。

Rivette is relatively precise in his dealings with meaning. He is the most atavistically ceremonious of the Vague, in the sense that his abstraction as a journey leading inwards is always attended by signs and codas that affirm our passage. The transcendent rite of passage, in more ways than one, is about the symbolic enactment that paves the way. The transcendence itself is left to our sphere of experience, but we're at least brought to the doorstep. 　　Oh, there's the improvisational flow that seems to throw people off, that things seem to be randomly bubbling up from nothing without significant plan or substance. The chance encounters in a world that we may recognize, the geography vaguely familiar whose nature is yet ultimately insoluble. There's a lot of that here. As in Celine, it is the breathing space that conducts our preparation to step beyond the mechanisms of reason. We don't reason with it, rather trust its intuitive flow. Like the dream world, it is only the figment of the known world spontaneously arisen as a stage or blank slate for the atavistic portents and divinations of the subconscious mind to be writ. 　　But the rite of passage matters, in spite of the seemingly aimless wandering. Here it is about human effort to bypass the 'wall of paradise' constituted by the coincidence of apparent opposites (good and evil, light and dark, being and non-being). A barrier that obscures vision and traps in a world of names and forms that is only an apparent reality. 　　Rendered in the film as twin goddesses of sun and moon, vying for a precious stone that enables their descend into the human world. The human characters are mere pawns to their schemes; to be seduced, tricked, threatened, or ultimately destroyed. Twin femme fatales, weaving spells in an inverse noir universe magnified into a macrocosmic struggle. 　　The ill-prepared man who chances to steal a glimpse of them in their true form, like in the myth of Actaion who steals upon the Greek goddess Artemis bathing naked in a pool, has his consciousness shattered by the revelation. His mirrored image (the soul, the reflected half) is cracked. 　　The woman who finally shatters the illusionary duality that quarantines human consciousness into meaningless dilemmas, does so by a sacrifice of blood. 　　And this is the problem of the film. So much of it is a stridently symbolic enactment, a matter of ceremony. The sacrifice is, quite literally, a matter of spilling blood upon the symbolic stone and does not flow from anything - it is simply the schematic end of the spiritual myth. Although valuable as insight, the meaning of the film is trapped inside the rituals performed to signify it. Having cracked the outer shell to absorb it, the film seizes to resonate.