我整整两年不敢回家过年，只因家里骄纵蛮横的小侄女。去年春节，八岁的她肆意损毁我全套化妆品，抢走手机与珍藏手办。我出声制止，她反倒哭闹告状，哥嫂与母亲全都一味偏袒孩子，只劝我大度忍让，全然不顾我的损失与委屈，那天我满心愤懑，下定决心不愿再回乡过节。

一场宴会的羞辱，让她幡然醒悟及时抽身。

天赋异禀的林妍破格入读顶尖模特学院，却与台步标杆陈思琪初遇即交锋。两人从互不相让到默契互补，携手备战巴黎高定时装周。面对后台泄密、走位失误等连环危机，她们临危不乱，将传统东方元素巧妙融入现代秀场设计。历经淬炼后，二人以惊艳全场的东方美学姿态登顶世界舞台，完成从青涩新秀到国际超模的华丽蜕变。

1000 years ago at Wiang Chai Chet Buri Prince Rangsiman Organized a weaving competition to choose one of the brides to be the queen of the throne, but Hom Nuan from Nakhon Pha Ngam was strangled to death during weaving. Leaving only silk marks on the neck and unable to know who did it.

Encomium to Larry Hart (1895-1943), seen through the fictive eyes of his song-writing partner, Richard Rodgers (1902-1979): from their first meeting, through lean years and their breakthrough, to their successes on Broadway, London, and Hollywood. We see the fruits of Hart and Rodgers' collaboration - elaborately staged numbers from their plays, characters' visits to night clubs, and impromptu performances at parties. We also see Larry's scattered approach to life, his failed love with Peggy McNeil, his unhappiness, and Richard's successful wooing of Dorothy Feiner

九十年代，天才裁缝沈明珠重生，摆脱虚伪未婚夫宋明轩与心机表妹白楚楚的算计，撕毁婚约，辞别国营厂，南下鹏城。她凭精湛技艺挽救云锦国际，创立国风品牌“明珠云裳”，攻克防皱天蚕丝技术。白楚楚、宋明轩屡施诡计，盗稿、使用毒布料，在礼宾服竞标时罪行败露，受到法律严惩。沈明珠斩获国家礼宾服装大单，将中国时装推向国际，与顾青云相知相守，实现从落魄女工到实业翘楚的华丽逆袭。

昔日暗羽掌令，携遗诏入京，血债血偿

人人都说权贵府里的宅斗，总该有个挑事的。所谓正妻基础，外室就不基础。作为曾经名动扬州的花魁，我就是那个不基础的外室。我不藏着，也不掖着，甚至敲锣打鼓宣扬小侯爷豪掷十万两黄金为我赎身。夫人劝我低调，我反手就把侯爷送的东珠镶在了鞋面上。嬷嬷要教我规矩，我当着她的面把《女诫》一页页撕了煮茶。满京城都说我是个疯女人。

This is one of the rare gems in early Chinese musical films that still exists today. Nancy Chan plays a naïve young woman who can sing and dance. Under the arrangement of her stepfather, she becomes a star and indulges in the glitz and glamour of the entertainment world before getting married to a wealthy heir in Nanyang. Yet her husband is cruel and unfaithful, leading her to divorce and return to her parents in Shanghai. She is set for a comeback to the stage. Her young daughter suffers from a serious illness. A remake of the Bu Wanchang’s silent film The Light of Maternal Instinct (1933), this film takes cues from Hollywood musicals, resulting in an elegant and lively fusion of camera movement and musical numbers. The film also reflects the harsh reality of China in the 1930s and the pathos of popular literature by combining morals, entertainment and social commentary to show that changes in the idea of femininity is a symbol of progress.

Father Michael, a Catholic priest presiding over a Northern urban parish who is Modern, maverick, and reassuringly flawed; must be confidante, counselor and confessor to a congregation struggling to reconcile its beliefs with the challenges of daily life.