TNT春节太闹腾2025 　　蛇年「十八楼联欢晚会」 　　EP01：2025年楼晚开幕式 　　《我要上楼晚之走进石坝楼》特别节目——TNT&石坝楼全体村民 　　EP02：劲歌热舞过大年 　　《七财神狂舞》——TNT 　　《助富勒》——TNT 　　《妹妹和哥哥》——都是哥 　　《蓝孩和侣孩》——都蓝孩 　　《三条蛇》——都是人 　　EP03：曲苑杂坛2025 　　《刷谁的卡》——哥哥哥弟 　　《你是谁的谁》——哥和哥 　　《你找谁？》——弟哥哥哥 　　《是谁？》——哥和弟 　　《什么歌要怎么唱嘞》——TNT 　　EP04：假期经典剧集展演 　　《童年回忆》——TNT 　　《甩锅》——哥弟弟弟 　　《对歌》——哥哥弟弟 　　《放弃挣扎》——哥哥 　　EP05：原创广告过大年 　　《悬疑大片》——帅哥和帅弟 　　《王子公主和妈》——帅哥帅哥和帅哥 　　《浪漫遇见》——帅哥和帅弟 　　《重磅上架》——TNT 　　EP06：《财神来到我家门》——TNT 　　EP07：《楼斯卡2025》——TNT 　　EP08：《超长花絮笑不停》

TNT春节太闹腾2024 　　龙年「十八楼联欢晚会」

Secvente(Sequences, reffering to film sequences) is Alexandru Tatos' quintessential film and one of the stepping stones of Romanian cinematography. Sadly, although being a critics and directors favorite ever since it's release, Secvente never managed to find a wide audience, mostly due to the limited distribution the film received during it's initial run in the communist years. This huge injustice was disappointingly never corrected and unless word doesn't spread over this uniquely original gem of Romanian Cinema, Secvente will most surely never reach the following it deserves. 　　Secvente is structured in 3 merely related parts, all concerning sequences of a fictional film that is being shot by Alexandru Tatos, Florin Mihaileanu and the rest of the crew, the film, surprising moments of the crews life both on and off set, in the vein of other fourth wall breaking features of world cinema such as Truffaut's La nuit Americaine and the films of Jørgen Leth. In fact it's impossible to tell whether a fourth wall exists during the entire movie, as the haunting sensation that the characters may jump off and start a fight in your living room dominates the final climactic sequence, a sequence that may well contain the only piece of pure Romanian humor the Cinema was ever able to preserve during those years.

Like the art cinema of David Lynch or Luis Bunuel (not to mention Harrington's most immediate influence/mentor, the long-venerated celluloid poet Maya Deren, whose 1943 short Meshes of an Afternoon clearly turned the budding filmmaker Harrington on to the medium's wider-than-imagined possibilities), Harrington's films aren't abstract so much as they, very much like a dream (the closest experience to cinema real life offers, and offered long before movies ever existed), consist of narratives with recognizable, "real" human figures and places where some kind of story is happening, except with a disconcerting adherence to their own unpredictable, irrational internal logic and sign systems. In 1946's 13-minute Fragment of Seeking, his first completed work as a mature filmmaker, a twentysomething Harrington himself appears as the bespectacled, fedora'd, trenchcoat-clad, faintly androgynous (he resembles Truman Capote a bit) young man who, when he enters through an imposing gate into the courtyard of a beautiful old ivy-covered L.A. apartment building, is captivated and led ever deeper into a mysterious realm (like Alice down the rabbit hole) by a girl who, with her Veronica Lake blonde tresses, is ravishing enough to be a starlet. As he watches and pursues her through the walkways and corridors around and inside of the building, what at first looks like voyeuristic flirtation becomes a journey into the young man's own deepest fears and desires -- a gorgeous and terrifying pulling back of the veil of surface reality for a glimpse of both his true self and that too-close-for-comfort Freudian link between sex and death. Like all of this early work, the film is more or less silent-with-score (by Ernest Gold, whose music is fantastically cinematic and integral to setting the mood of many of these these moody pictures), and Harrington uses no effects any more special than the skilled, inspired manipulation of shadow and light and a very finely honed intuitiveness at the editing table to create a world as convincing and vivid as it is removed from realism -- one with a lush, eerie atmosphere fraught with allure, suspense, danger, and dread.

Like the art cinema of David Lynch or Luis Bunuel (not to mention Harrington's most immediate influence/mentor, the long-venerated celluloid poet Maya Deren, whose 1943 short Meshes of an Afternoon clearly turned the budding filmmaker Harrington on to the medium's wider-than-imagined possibilities), Harrington's films aren't abstract so much as they, very much like a dream (the closest experience to cinema real life offers, and offered long before movies ever existed), consist of narratives with recognizable, "real" human figures and places where some kind of story is happening, except with a disconcerting adherence to their own unpredictable, irrational internal logic and sign systems. In 1946's 13-minute Fragment of Seeking, his first completed work as a mature filmmaker, a twentysomething Harrington himself appears as the bespectacled, fedora'd, trenchcoat-clad, faintly androgynous (he resembles Truman Capote a bit) young man who, when he enters through an imposing gate into the courtyard of a beautiful old ivy-covered L.A. apartment building, is captivated and led ever deeper into a mysterious realm (like Alice down the rabbit hole) by a girl who, with her Veronica Lake blonde tresses, is ravishing enough to be a starlet. As he watches and pursues her through the walkways and corridors around and inside of the building, what at first looks like voyeuristic flirtation becomes a journey into the young man's own deepest fears and desires -- a gorgeous and terrifying pulling back of the veil of surface reality for a glimpse of both his true self and that too-close-for-comfort Freudian link between sex and death. Like all of this early work, the film is more or less silent-with-score (by Ernest Gold, whose music is fantastically cinematic and integral to setting the mood of many of these these moody pictures), and Harrington uses no effects any more special than the skilled, inspired manipulation of shadow and light and a very finely honed intuitiveness at the editing table to create a world as convincing and vivid as it is removed from realism -- one with a lush, eerie atmosphere fraught with allure, suspense, danger, and dread.

透过少女阿曼达与她虚构出的同伴拉杰的视角，深入刻划人性与创意。他俩从阿曼达家的阁楼出发，展开穿越魔法世界的奇幻大冒险，途中邂逅形形色色的生物，探索从未见过的奇景，然而有股邪恶势力蠢蠢欲动，阿曼达与拉杰以想像力堆砌出的世界、在其中萌芽茁壮的友谊，都有可能因此毁灭。 　　《阁楼的拉杰》由曾参与《神隐少女》制作的知名动画家百濑义行执导，带来一段难忘的冒险旅程，以爱与失去为题，描绘幻想的力量如何抚平伤痛。

透过少女阿曼达与她虚构出的同伴拉杰的视角，深入刻划人性与创意。他俩从阿曼达家的阁楼出发，展开穿越魔法世界的奇幻大冒险，途中邂逅形形色色的生物，探索从未见过的奇景，然而有股邪恶势力蠢蠢欲动，阿曼达与拉杰以想像力堆砌出的世界、在其中萌芽茁壮的友谊，都有可能因此毁灭。 　　《阁楼的拉杰》由曾参与《神隐少女》制作的知名动画家百濑义行执导，带来一段难忘的冒险旅程，以爱与失去为题，描绘幻想的力量如何抚平伤痛。

收樓起樓買樓炒樓，從來都是香港核心價值。為重建為發展，踢走老街坊，無所不用其極才是王道。夜深人靜，肥仔應上司要求到舊區收樓，務求盡速解決拒絕遷走的釘子戶老伯，怎料舊樓內突然傳來陣陣陰風，靈異事件接踵而至，只是怪力亂神也絕對阻擋不了肥仔收樓賺佣的決心，出盡法寶一鼓作氣，讓他意外發現老伯不為人知的故事。金像獎最佳男配角白只化身為口奔馳的收樓人，演活職場地底泥的無奈，從趣怪誇張的收樓鬧劇和服裝陳設，慢慢帶領觀眾反思收樓背後扭曲的社會價值。發展帶來的人心失喪，比鬼神更恐怖。

收樓起樓買樓炒樓，從來都是香港核心價值。為重建為發展，踢走老街坊，無所不用其極才是王道。夜深人靜，肥仔應上司要求到舊區收樓，務求盡速解決拒絕遷走的釘子戶老伯，怎料舊樓內突然傳來陣陣陰風，靈異事件接踵而至，只是怪力亂神也絕對阻擋不了肥仔收樓賺佣的決心，出盡法寶一鼓作氣，讓他意外發現老伯不為人知的故事。金像獎最佳男配角白只化身為口奔馳的收樓人，演活職場地底泥的無奈，從趣怪誇張的收樓鬧劇和服裝陳設，慢慢帶領觀眾反思收樓背後扭曲的社會價值。發展帶來的人心失喪，比鬼神更恐怖。

影片《诡八楼》改编“北京四大鬼宅”之一的北京白塔寺福绥境胡同鬼八楼的诡异传说，也再次将1989年禁映电影《黑楼孤魂》重新搬上大银幕。影片讲述了李清（包小柏饰）为了创作独身来到一座60年代关押“牛鬼蛇神”的废弃孤楼。入住第三天李清仿佛被无形的力量牵引游荡在孤楼里，且只有他能看到别人看不到的诡异凶杀案，更恐怖的是他无论如何逃脱都无法逃离这座鬼楼。