民国初年，豉油老字号“家福酱园”的次女徐芯（周丽淇饰）把酱油厂的生意搭理得井井有条，然而好景不长，一次豉油意外事故让酱油厂深陷困境。正当徐芯束手无策时，邂逅青年才俊佟本善（黄浩然饰）。本善的入股令酱油厂的钱债危机得以解除，加上本善的深情，都深深吸引着单纯善良的徐芯，可她却怎知本善另有目的。当年本善被高夫人董帼馨（陈秀珠饰）收养，并捏造他就是高兆堂（郭峰饰）寻找多年的私生子。然而当他即将作为继承人时，却被高夫人设计逐出家门。为报高家此仇，本善展开了一场机关算尽的爱情骗局。 　　香港电视广播有限公司制作的21集民初电视剧《我的如意狼君》，由香港无线金牌监制李添胜执导，黄浩然、周丽淇领衔主演，为观众倾情奉上一出周旋在良心道德与亲情爱情间的年度压轴大戏。

民国初年，高夫人董帼馨收养了一名孤儿并捏造他是高兆堂寻找多年的私生子高尔浩，高兆堂认为适宜作继承人，惹来帼馨的不满，使计令他被逐出家门；这名孤…

半夜被一阵聊天声吵醒了。朦朦胧胧我看到左边床铺的两个舍友，坐在一张床上，有说有笑的聊天。我看了一下表才凌晨3点。我在心里骂了一句，然后就继续睡了。然而第二天起床，诡异的发现靠窗左手边的床铺，空了....

通过遭受难以言表的创伤的成员的独特视角，以及对这些压迫性团体进行的令人震惊的调查，带领观众走进阴险的现代邪教组织。

距地球千里之外鹊之城的神仙姐姐小九，被五大长老派到人间寻找鹊之石，拯救危在旦夕的鹊之城。意外被高智商的屌丝工科男薛海的引力波实验击落。一场以泡妞为真实目的，寻找鹊之石为名的“闹剧”在小九落入凡间的30天里疯狂展开，随着事态发展，隐藏在背后的大BOSS逐渐浮出水面，为了守护梦想和爱情，薛海选择和小九共同作战，与黑暗势力做斗争……

距地球千里之外鹊之城的神仙姐姐小九，被五大长老派到人间寻找鹊之石，拯救危在旦夕的鹊之城。意外被高智商的屌丝工科男薛海的引力波实验击落。一场以泡妞为真实目的，寻找鹊之石为名的“闹剧”在小九落入凡间的30天里疯狂展开，随着事态发展，隐藏在背后的大BOSS逐渐浮出水面，为了守护梦想和爱情，薛海选择和小九共同作战，与黑暗势力做斗争……

Four centuries before the beginning of our era, Aristofanes wrote the comedy Ornithes . In it, two men leave their birthplace in search of a better life. They arrive in the forest of the birds and meet Hoopoe, the man who has become a bird. 　　This Greek comedy is a reverie, a voyage of discovery, an essay and perhaps also an indictment. The film mixes talking heads with theater, street scenes and beautiful views. The foundation is a desire for freedom but also the obstacles that humanity imposes on itself to find that freedom; walls around a country, social conventions, rules. Children rock to feel the tingling in their belly, that evolutionary reminder of what it was like to whiz through the air. 　　You can go in all directions in the air, says the man who no longer wants to walk but flies. "Gravity is mortality," says another. Meanwhile, two men go looking for bird man Hoopoe. 　　_____________________ 　　A hybrid film, at the edge of documentary, fiction, and political fantasy, by cinematographer Babis Makridis, of “L” (Sundance Film Festival 2012) and “Pity” (Sundance Film Festival 2018, Best Film, Greek Film Academy 2019). 　　The film “The Birds or how to be one” draws its inspiration from the archetypical myth of Aristophanes’s “The Birds,” Nikos Karathanos’s production, and its participants, filming them off stage, in real spaces and natural environments—from lava fields in Iceland to the plateaus of Patagonia, and from Times Square to the Egyptian pyramids. Everything takes place in a universe of fluid “everyday” routine, among theater PEOPLE, ornithologists, and pragmatic recluses who all dream of flying. 　　The film will have its world premiere at the Voices section of the International Film Festival Rotterdam 2020. The section presents "movies driven by powerful stories, captivating subjects and important themes. Each film brings a distinctive view of the world, from filmmakers with a confident voice". The movie was also part of Work in Progress by Les Arc Festival 2019, while in January 2020 it will be presented at Santiago a Mil Festival in Chile, together with the updated edition of "The Birds" performance by Nikos Karathanos.

影片讲述了母亲去世后，独自养猫居住的女人和隔壁的男子陷入爱河时发生的事情。

All of Your Stars Are but Dust on My Shoes tracks the public administration of light and darkness as an essential policing tool. The video moves between cities like New York and Paris, with the artist's native Beirut setting the central pulse. Creating an associative genealogy that moves from whale oil lamps to gas lanterns to LED bulbs, from blackouts to curfews, the video is comprised of found footage and material from Aivazian’s own phone. Layering, splicing, and confronting disparate kinds of sound and image, the artist generates a sensorial meditation on how the fundamentals of human vision—light hitting the retina—were mechanized into tools that capture our movements, be it in everyday life or on screen. (Haig Aivazian)

All of Your Stars Are but Dust on My Shoes tracks the public administration of light and darkness as an essential policing tool. The video moves between cities like New York and Paris, with the artist's native Beirut setting the central pulse. Creating an associative genealogy that moves from whale oil lamps to gas lanterns to LED bulbs, from blackouts to curfews, the video is comprised of found footage and material from Aivazian’s own phone. Layering, splicing, and confronting disparate kinds of sound and image, the artist generates a sensorial meditation on how the fundamentals of human vision—light hitting the retina—were mechanized into tools that capture our movements, be it in everyday life or on screen. (Haig Aivazian)