和大部分女大学生一样，芭芭拉（露易丝·布尔昆 Louise Bourgoin 饰）有着年轻美丽的外表和对未来无限的期望，和男友尼古拉斯（皮奥·马麦 Pio Marmaï 饰）的恋情更让她相信她正在经历的是一生中最美好的时光。一个孩子的到来将一切美好粉碎殆尽，她无法想象在心智上还是一个孩子的自己竟然要做母亲了。 　　在犹豫和期待中，芭芭拉选择了将孩子留下，没想到，孩子的出生则成为了芭芭拉的另一个噩梦。面对眼前这个毫无防备的小小生命，在为人母的艰巨责任面前，芭芭拉退却了，她怎么也弄不明白的是，成为母亲，这明明是一件幸福的事情，为什么会有那么多的悲伤和恐惧深藏其中呢？

和大部分女大学生一样，芭芭拉（露易丝·布尔昆 Louise Bourgoin 饰）有着年轻美丽的外表和对未来无限的期望，和男友尼古拉斯（皮奥·马麦 Pio Marmaï 饰）的恋情更让她相信她正在经历的是一生中最美好的时光。一个孩子的到来将一切美好粉碎殆尽，她无法想象在心智上还是一个孩子的自己竟然要做母亲了。

根据陀思妥耶夫斯基的同名短篇小说改编。 　　故事发生在俄国废除农奴制的1860年代。五品文官伊万·普拉林斯基是个出了名的自由派，一次拜访完同事回家的路上，偶然经过了自己的下属，十三品小吏波尔菲里·普谢尔多尼莫夫家，后者正在操办婚礼。普拉林斯基幻想自己的造访和施与的“仁慈”能让底层人民大受感动，从而被传为佳话，于是便借着醉意踏进了普谢尔多尼莫夫的家门。然而他立刻发现，底层的生活方式与他想象的完全不同…… 　　由于影射了赫鲁晓夫解冻时期的时局、大量使用怪诞手法、对底层民众的描摹欠缺人道与同情，电影在苏联一直遭到禁映，这也预示了勃列日涅夫时代文艺审查趋严的开端。直到杀青二十年后的戈尔巴乔夫改革年代，影片才得以上映。

根据陀思妥耶夫斯基的同名短篇小说改编。 　　故事发生在俄国废除农奴制的1860年代。五品文官伊万·普拉林斯基是个出了名的自由派，一次拜访完同事回家的路上，偶然经过了自己的下属，十三品小吏波尔菲里·普谢尔多尼莫夫家，后者正在操办婚礼。普拉林斯基幻想自己的造访和施与的“仁慈”能让底层人民大受感动，从而被传为佳话，于是便借着醉意踏进了普谢尔多尼莫夫的家门。然而他立刻发现，底层的生活方式与他想象的完全不同…… 　　由于影射了赫鲁晓夫解冻时期的时局、大量使用怪诞手法、对底层民众的描摹欠缺人道与同情，电影在苏联一直遭到禁映，这也预示了勃列日涅夫时代文艺审查趋严的开端。直到杀青二十年后的戈尔巴乔夫改革年代，影片才得以上映。

达婶以女性视角贴心分享孕期那些事儿。从得知怀孕时的忐忑与欣喜，到每个阶段的身体变化 —— 孕早期的孕吐折磨、孕中期的胎动惊喜、孕晚期的笨拙不便。涵盖怀孕过程中的各种知识与见闻，无论是孕期护理、注意事项还是新手爸妈的疑惑，都可能在这里找到答案。

Ukrainian filmmaker Kira Muratova offers a darkly comical look at everyday cruelty in these three savage tales. The first, "Boiler Room No. 6" is based on a story by Yevgeny Golubenko and takes place with in a blue-tinted boiler room where a panic-stricken resident of a communal apartment has dragged the body of his neighbor, a young woman he killed over an argument about a bar of soap. There he beseeches the talkative poet, who tends the massive furnace, to help him dispose of the body. The nearly surreal "Ophelia," the second story, centers on the vengeance of the title woman, a blonde beauty who works in a maternity hospital. One day she sneaks into a records room and learns the names of every mother in town who has given a baby up for adoption. Ophelia was one of these babies and she is still angry. She finds one of the mothers and strangles her. She then finds her own biological mother and pushes her off a dock. The third vignette, "The Maiden and Death" follows a winsome little girl who tires of being constantly admonished by her well-meaning, but wearisome, paralyzed grandfather. He says the word "no" once too often and she retaliates by slipping rat poison into his tea. ~ Sandra Brennan, All Movie Guide

Ukrainian filmmaker Kira Muratova offers a darkly comical look at everyday cruelty in these three savage tales. The first, "Boiler Room No. 6" is based on a story by Yevgeny Golubenko and takes place with in a blue-tinted boiler room where a panic-stricken resident of a communal apartment has dragged the body of his neighbor, a young woman he killed over an argument about a bar of soap. There he beseeches the talkative poet, who tends the massive furnace, to help him dispose of the body. The nearly surreal "Ophelia," the second story, centers on the vengeance of the title woman, a blonde beauty who works in a maternity hospital. One day she sneaks into a records room and learns the names of every mother in town who has given a baby up for adoption. Ophelia was one of these babies and she is still angry. She finds one of the mothers and strangles her. She then finds her own biological mother and pushes her off a dock. The third vignette, "The Maiden and Death" follows a winsome little girl who tires of being constantly admonished by her well-meaning, but wearisome, paralyzed grandfather. He says the word "no" once too often and she retaliates by slipping rat poison into his tea. ~ Sandra Brennan, All Movie Guide

加入证人保护计划之前，银行抢劫犯米克尔（尼古拉·科斯特-瓦尔道 Nikolaj Coster-Waldau 饰）对警方提了三个要求，而这三个要求传递出的信息表明这次银行抢劫并不像看上去那样简单……

绛紫是由变月文化推出的一位虚拟主播，十七岁的绛紫性格乐天，愿意尝试各种的挑战，喜欢从自己的角度出发观察万事万物。

绛紫是由变月文化推出的一位虚拟主播，十七岁的绛紫性格乐天，愿意尝试各种的挑战，喜欢从自己的角度出发观察万事万物。