Ever since she was a young child, filmmaker Ester Gould has been amazed by the sheer self-confidence of her older sister Rowan, whose boundless creativity and natural beauty tended to make everyone around her jealous. She has the world at her feet, and the universe is her playground. But can such a well-developed sense of your own worth go too far? Self-assurance is greatly valued - until it spills over into an unhealthy overestimation of the self. In this incisive, personal visual essay, Gould explores our society's increasing obsession with the self. Thanks in part to social media, the pressure to have a fantastically successful life is ever greater; personal development seems to be the only thing that counts. The filmmaker follows a number of seemingly successful people going out, socializing and participating in the art world, as they reflect in conversations or interviews on the level of self-confidence they display and how this relates to their actual "self." Meanwhile, dreamy reenactments tell the story of the filmmaker's sister Rowan, illustrated by excerpts from correspondence between the sisters. How marvelously everything is going; how fantastically she's doing; she's taking yet another inspirational course; she gets so many invites that there's simply no time. Gould gradually starts to question her interesting sister's stories, which leads to a disconcerting denouement.

Ever since she was a young child, filmmaker Ester Gould has been amazed by the sheer self-confidence of her older sister Rowan, whose boundless creativity and natural beauty tended to make everyone around her jealous. She has the world at her feet, and the universe is her playground. But can such a well-developed sense of your own worth go too far? Self-assurance is greatly valued - until it spills over into an unhealthy overestimation of the self. In this incisive, personal visual essay, Gould explores our society's increasing obsession with the self. Thanks in part to social media, the pressure to have a fantastically successful life is ever greater; personal development seems to be the only thing that counts. The filmmaker follows a number of seemingly successful people going out, socializing and participating in the art world, as they reflect in conversations or interviews on the level of self-confidence they display and how this relates to their actual "self." Meanwhile, dreamy reenactments tell the story of the filmmaker's sister Rowan, illustrated by excerpts from correspondence between the sisters. How marvelously everything is going; how fantastically she's doing; she's taking yet another inspirational course; she gets so many invites that there's simply no time. Gould gradually starts to question her interesting sister's stories, which leads to a disconcerting denouement.

照片承载了人类记忆，本片导演、以色列家喻户晓的影星科比·法拉格走访17位以色列公民，请他们分享自己的私密照片，通过采访形式，让人们自己讲述个体与历史、家庭与民族之间纷繁复杂的故事。本片节奏轻快，在故事讲述中佐以爵士、嘻哈等音乐，没有历史叙述的沉重感。影片里的每一张照片既是一段个人的悲喜故事，也是以色列建国70年历史的最好脚注。

照片承载了人类记忆，本片导演、以色列家喻户晓的影星科比·法拉格走访17位以色列公民，请他们分享自己的私密照片，通过采访形式，让人们自己讲述个体与历史、家庭与民族之间纷繁复杂的故事。本片节奏轻快，在故事讲述中佐以爵士、嘻哈等音乐，没有历史叙述的沉重感。影片里的每一张照片既是一段个人的悲喜故事，也是以色列建国70年历史的最好脚注。

新剧中，长濑智也将饰演一位外号“自恋狂”的警察，年过30还是独身的他有着神奇的“超恋爱体质”，每次都会对女嫌疑犯一见钟情。为了增加看点，制作局特意请来多位不同年龄段的女演员，在每集客串演出。

自恋（长濑智也饰）是一名刑警，有一个刚刚分手的前女友日暮里惠（中岛美嘉饰）和一幢背负着贷款的为理惠买的豪宅。日暮里惠的嫉妒心和对自恋的盲目崇拜使得自恋变成了一个名符其实的自恋狂，现在自恋狂失恋了，而他的上司冴木优（荒川良良饰）居然是一个新婚不久的幸福男人，更令自恋震惊的是，讶木的妻子不是别人，正是自己的前女友理惠。自恋有一种奇怪的体质，他所喜欢的女性总是会被卷入犯罪事件，或者说，他总是被女性身上的犯罪气息所吸引？这样的他，作为一名警察，在业务上屡屡获得成功，但成功对于他来说，同时意味着的往往就是失恋。痛苦的自恋在酒吧里买醉，偶然结识了专门帮人解决恋爱烦恼的傻瓜四人组，气味相投的他们一拍即合，这四个傻瓜能帮自恋解决困扰他的恋爱问题吗？在恋爱的同时也要打击犯罪！自恋刑警整装待发。

拍摄此片前，本片的导演斯蒂夫·巴尔德森已闻名片界，他在此片中做出了一个更加大胆的尝试和无畏的挑战，探索了一个从未有人涉足的全新领域-自恋狂。 　　此片堪称最大胆的原创影片之一。对于此片的评价，众说纷纭，经久不消。片中男主角是个英俊的大学教授，他不爱任何人，不管是男人还是女人，除了他自己。他将自己的头像贴在充_气娃娃上，和充_气娃娃做，口中念的是“我爱我自己，我爱我自己”。 　　他的自恋达到了疯狂的地步。他的精神支柱是“我是世界上最帅最聪明的人，和别人做，有辱我的身份”…

拍摄此片前，本片的导演斯蒂夫·巴尔德森已闻名片界，他在此片中做出了一个更加大胆的尝试和无畏的挑战，探索了一个从未有人涉足的全新领域-自恋狂。 　　此片堪称最大胆的原创影片之一。对于此片的评价，众说纷纭，经久不消。片中男主角是个英俊的大学教授，他不爱任何人，不管是男人还是女人，除了他自己。他将自己的头像贴在充_气娃娃上，和充_气娃娃做，口中念的是“我爱我自己，我爱我自己”。 　　他的自恋达到了疯狂的地步。他的精神支柱是“我是世界上最帅最聪明的人，和别人做，有辱我的身份”…