王阳穿越修真界，被系统追着求绑定，只想躺平的他直接丑拒三连，被pua的系统不断进化，最后进化成了“独断万古躺平无敌系统”，只要王阳答应绑定，只要躺平，就能变强，无敌功法，漂亮妹子，直接赠送！躺平，也能成大帝！

穿越就濒临饿死？还好觉醒人生模拟系统！模拟结束任选境界、武技或人生智慧，一出山便拥有八十岁老者的修行实力，爽感直接拉满！可这系统竟是氪金款？唯有这个世界的货币能充值解锁更多模拟次数！从绝境求生到靠氪金狂飙升级，看穿越者如何玩转付费系统，一边赚够货币一边解锁超强能力，在异世界一路逆袭打脸，凭氪金实力横扫四方！每一次模拟都是全新机遇，每一笔充值都换来了碾压级实力，全程高能无尿点，快来围观这场“氪金即无敌”的穿越爽剧！

豪门少奶奶林悦在婆婆寿宴上，被养女沈秋栽赃献上了骨灰盒，瞬间成为众矢之的。深爱的丈夫陈铭轩迫于压力，狠心将她放逐到偏远牧场“学习羔羊跪乳之恩”。三年牧场炼狱，林悦受尽场主张守财非人虐待，身心俱残。当她带着满身伤痕与滔天恨意归来，面对的却是丈夫的不信与沈秋的持续构陷。昔日的金丝雀蜕变成复仇女神，林悦精心布局，在婆婆寿宴上惊天逆转，揭穿沈秋所有恶行，令其身败名裂。尘埃落定后，看清真相的陈铭轩痛悔不已。

来自农村的大学生陈若飞，在繁华的大都市中扎稳脚跟，并与富贵之家的千金白丽结为连理。然而，城市的喧嚣与工作的繁忙让他渐渐忽略了远方的故乡。一日，妹妹陈若彤焦急的来电，穿透了都市的喧嚣，却未能及时传达至陈若飞耳中——母亲病危的消息因一场会议而错过。不久，噩耗传来，母亲离世，但命运的捉弄让陈若飞数次与这悲痛的消息擦肩而过。一连串的误会与遗憾交织，直至陈若飞匆匆赶回，面对母亲的遗像，他跪倒在地，泪水与悔恨交织，诉说着无尽的思念与愧疚。

以君逍遥为主角的玄幻修仙故事，讲述其穿越成荒古世家神子后，凭借签到系统获得大成荒古圣体等逆天机缘，打破体质枷锁并引发万圣朝拜异象，从而在修仙世界中展开天骄争霸的无敌流历程 剧情融合穿越、系统赋能与修仙成长线，每集通过幽默叙事展现主角的逆袭与战斗

正当陈晨在绝望的深渊中挣扎，感叹命运的无常之时，一道奇异的光芒划破黑暗，学霸系统悄然觉醒。这不仅仅是命运的转折，更是逆袭的号角。学霸系统不仅神奇地恢复了他昔日的学习热情与卓越能力，更为他量身打造了一系列学习任务与竞赛PK，每一次挑战都伴随着专属的丰厚奖励，激励着何亮不断前行。 在系统的引导下，陈晨重新燃起了对知识的渴望，他夜以继日地沉浸在学习的海洋中，用智慧与汗水证明着自己的价值。从基础的巩固到难题的攻克，从校内的小测验到国际性的学术竞赛，陈晨一一征服，每一次成功都让他离曾经的自己更近一步，也让那些曾经看轻他的人刮目相看。

小胖子李天为追女神苏晴沦为 “舔狗”，却遭羞辱。被撞后他绑定 “追爱系统”，获 900 亿真爱金，需 3 个月找到真爱，否则钱变负债。 他变帅后用真爱金追女孩，却发现钱只能花在爱自己的女孩身上。他为梦可儿、林子萱等人砸钱，还和宋文文绑定恋爱关系，却因用钱 “买爱”，始终未寻得真爱，还被梦可儿曝光秘密，人财两空，负债累累。 绝望中李天欲寻短见，被宋文文救下。宋文文曾被李天帮助，一直心怀感激。在重振事业的过程中，两人相爱相守，组建家庭，李天终于明白真爱无需金钱堆砌，真诚才是爱情的真谛，最终收获了美好幸福的结局 。

意外穿越到以 “规则” 为核心的玄元界的他，这里功法有修炼壁垒、秘境有准入限制、法宝有认主门槛，而他居然一落地就绑定了 “无敌破解系统”—— 不管什么样的规则、限制、壁垒，只需触发系统，都能直接破解。

陈凡买彩票刚中了十个亿竟意外穿越至天罡大陆，还获得了宠妻系统。陈凡一心只想回到过去的生活，却被告知自己的遗体已被烧毁，十个亿也全被捐了，倍感绝望的陈凡痛哭不止。然而系统却告诉陈凡可以通过宠爱妻子夏梦璃获得贡献值，兑换强力道具。

1997, 75 min., colour, BETACAM SP, Stereo 　　The Japan Foundation, North Foundation, Pandora Co., Ltd (Japan) 　　Special thanks to Hiroko Kodjima 　　scenario: A. Sokurov 　　camera: A. Fedorov 　　sound: S. Moshkov 　　editor: L. Semenova 　　“My journey to your sorrowful country cannot finish… even here in Russia. 　　I can't part with feelings which have captured me… as if my soul had been in search of Beauty and Kindness. If not — what for have I deserved this gift, this meeting… 　　I have arrived in the twilight. The noise of the wind and my tiredness didn't let me fall asleep. 　　I was lying on the floor, there was a small lamp at my head, the bedding had been thrown over the mat. 　　I don't know why, but I began to think about the war, and the scenes of unknown life appeared before me from the past… or, perhaps, from the future; Somebody’s children… somebody's mothers… 　　The summer was warm… 　　Then the morning came, windy, cold and sunny… I examined the house cautiously. It was empty… 　　Then, I remember, I turned back, having heard a creak. 　　It seemed she had not yet noticed me… I decided to come nearer. 　　I can remember well enough, how everything became interesting: walls, utensils, wind, light, sounds — all her life. 　　We agreed that she would let me stay near her all the time All the hours and minutes that I could spend in her old house. I sat near her with her permission. And it was really necessary: I could contem­plate her to my heart's content.” 　　Alexander Sokurov (from the author's text to the film) 　　A myth about lost harmony, which is always with us, though we often cannot feel it, is further developed in this film by Alexander Sokurov. The material used here is concrete and, at first sight, quite fit for TV. The whole work is unhurried and detailed report from an old solitary house, lost in the mountains, in the village of Aska, prefecture Nara, Japan, where an old woman, whose name is Umeno Matshueshi, lives alone. But filmmaker's creative task is quite opposed to the TV information stream. It is not only because this subject, this person couldn't be of any interest for any TV crew in any country (and least of all, perhaps, in modern Japan). 　　Sokurov's camera doesn't watch this character, doesn’t ask any questions, doesn’t surprise her, but extracts uninterrupted poetical image out of the trivial details of this physical reality, out of this extinct life and daily routine. The image is epic and lyrical at the same time. Refined simplicity of Japanese landscape, interior, a series of portraits are not a representation of “couleur local,” but only the sign of ideal technique of the ideal description, allowing to enter this life. The woman, who remains silent throughout the whole film, cooking and eating, kindling the fire and sewing, giving alms and combing her hair before us, recites in the final poem as a prayer: artless and sorrowful tanku about loneliness, about the constancy of losses and gainings. Sokurov shoots this unexpected stroke in his personage's portrait as a lyrical coda of his work.