上一世，张方旭辛苦存下的八十万，是给妻子王倩的救命钱。丈母娘却带着儿子逼着要钱买房。扶弟魔妻子不仅偏袒娘家，更以离婚相逼。小舅子见索财未果，竟痛下杀手，而妻子冷眼旁观，任由他倒在血泊之中…….....

我的室友看到小区的蹭饭启事，圣母病发作要给一对陌生小夫妻蹭饭。 我劝她别惹祸上身，她置之不理。 小夫妻最后登堂入室，敲诈室友后侵犯了她，拐卖了我。 被人贩子拉到大山后，我绝望跳崖。 重来一世，看到兴致勃勃给小夫妻做饭的室友，我立刻收拾东西搬走。 这圣母谁爱当谁当！

坎坷一生，获凡得宁静一刹那，似是一切回复平静。周天琪坐八年冤狱后，到『日报』工作，但命运却再一次为难天琪，王社长之死竟与她扯上关系，园游会中更见罗韵诗的阴谋渐露，她的生命陷於恐惧及危机之中，韵诗报仇的诡计却逐渐逼迎，连串的谋杀案仍不断发生，线索全被毁灭，天琪决定不再受命运摆布，她以自己作饵，与凶手力拼到底，最后竟然发觉。

演员梦破灭后，安提戈涅无奈地从雅典回到故乡小镇。倒塌的房屋，流窜的街狗以及破败荒芜的海滩让小镇笼罩上一股不祥的气息。生活似乎走上了正轨，她找了份工作，联系上旧友，甚至和小她十五岁的男孩子开始了新恋情。然而，小镇平静而衰败的表象下暗藏汹涌，当暴力、默许和忍气吞声日渐影响到她的友谊甚至爱情，这一次，她决定不再冷眼旁观……（豆瓣字幕翻译2.0小组）

The young, naive Smitty is sent to prison for six months; （http://www.kan84.net/bdhd/btFortuneandMensEyes.html）Cathy, his girlfriend, watches as he disappears behind the bars and barbed wire. He"s assigned a cell with Queenie, a balls-out drag queen, Rocky, a quiet but cocky con, and Mona, a young gay man who ministers to Rocky. 　　Smitty watches in horror as gangs of inmates brutalize prisoners who lack protection. Those who complain risk beatings or murder at the hands of unsympathetic guards: all cries are bootless. Mona offers poetry - Shakespeare"s sonnet XXIX; Queenie and Rocky offer Smitty advice, and Rocky offers protection for a price. Smitty"s choices and their consequences are the film"s main subjects.

A German businessman travels to Norway to finish the impossible translation of some poems into Chinese, a project of his late wife.

故事的主人公们是Saint-Sulpice学校里的一群高中生，同父异母的姐妹Camélia和Raphaëlle，Lou（Aliénor Barré 饰），网红模特Alice，羞涩紧张的Chloé，小巧可爱的Abigaël，酷拽的Sacha，以及阳光帅气的男同学Tom（Maxence Danet-Fauvel饰）。一天，在和姐妹们的哭诉中，Sacha说出了和Tom秘密交往过的故事，却惊讶的发现大家都有着相同的经历。在周六晚上的soirée上，女孩儿们决定......

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