在酒店事业公司“Bird Left”工作的服部舞香与同事的的场成光展开了秘密的办公室恋情，但舞香亲眼目睹了成光与公司另一名女性林田丽奈的出轨行为，结果被成光抛弃。心情受创的舞香，在此时得到了新任“Bird Left”社长佐鸟骏的提议——假装成为恋人，进行复仇。佐鸟之所以提议这一点，是因为他希望逃避父母安排的婚约。两人因为共同的利益关系开始了假装恋人的关系。然而，佐鸟却另有打算。

ホテル事業会社・バードレフトで同僚の的場成光と秘密の社内恋愛中だった服部舞香は、成光が社内の別の女性・林田麗奈と浮気しているところを目撃したことで、成光から振られてしまう。そして傷心の中、舞香は新しくバードレフトの社長に就任した佐鳥駿から「恋人のフリをして復讐してやろう」と声をかけられる。駿には親が決めた婚約者から逃れたいという理由があり、利害関係が一致した2人は嘘の恋人関係をスタート。しかし駿には別の思惑があった。紺野が舞香役、鈴木が駿役で出演する。

The project seeks to reflect about the image, and its contemplative experience from the factors of time, color and movement. We focus our view on the human-landscape relationship, facing it in two temporal dimensions: the geological and human. This definition synthesize well the will of the project: “The landscape are layers of time condensed into an image”. We seek to merge different temporal layers into a single image, proposing two exploration lines: emphasize the ephemeral and fleeting passage of man over the territory; and invite to a leisurely contemplation showing the poetry and mystery of the movements of landscape.

The project seeks to reflect about the image, and its contemplative experience from the factors of time, color and movement. We focus our view on the human-landscape relationship, facing it in two temporal dimensions: the geological and human. This definition synthesize well the will of the project: “The landscape are layers of time condensed into an image”. We seek to merge different temporal layers into a single image, proposing two exploration lines: emphasize the ephemeral and fleeting passage of man over the territory; and invite to a leisurely contemplation showing the poetry and mystery of the movements of landscape.

北城首富千金顾苒与丈夫徐正贤、情人方有有因一张医院VIP病床爆发激烈冲突。方有有持徐正贤骗取的家产（会员卡与名包）嚣张抢房，辱骂并损毁顾苒聋哑婆婆的天价耳蜗。顾苒冷静收集丈夫出轨、转移财产乃至企图绑架的罪证，最终在父亲协助下反杀，让徐正贤及方有有受到法律严惩，自己果断离婚、获得新生，印证了善恶终有报。

因为父母离异而独自跟爸爸生活的木朵有个心愿，希望跟远在异国的妈妈和姐姐木花团聚。木朵听说了乘坐天使座邮轮在海上许愿就会发生奇迹的消息，希望得到爷爷的帮助，而爷爷也有自己的心愿，完成对去世的妻子的承诺。

Perception changes ambiguously between moving images and sound. 　　I went on a journey by water. I had been gazing at the calm sea for hours on the back deck. Before my eyes was endless sky, the nearly leaning sea horizon, strong sunlight shining on the surface of the water, and trails on the sea traced by the ship. The sound were of the engine and waves, vibrations propagated through the ship hull, and a pleasant breeze. I’m trying to sense every moment. I am here to watch the sea. Thinking this, I will daydream even before I know it. Occasional whistles make the scene in front of me clear.

"Four days spent in a studio working on a centerfold photo for Playboy magazine provided the subject matter for my film. The magazine itself deals with culture, cars, a certain lifestyle. Maybe all those trappings are only there to cover up the naked woman. Maybe it's like with a paper-doll. The naked woman in the middle is a sun around which a system revolves: of culture, of business, of living! (It's impossible to either look or film into the sun.) One can well imagine that the people creating such a picture, the gravity of which is supposed to hold all that, perform their task with as much care, seriousness, and responsibility as if they were splitting uranium. 　　This film, An Image, is part of a series I've been working on since 1979. The television station that commissioned it assumes in these cases that I'm making a film that is critical of its subject matter, and the owner or manager of the thing that's being filmed assumes that my film is an advertisement for them. I try to do neither. Nor do I want to do something in between, but beyond both." 　　--Harun Farocki, Zelluloid, no. 27, Fall 1988

Art historian James Fox explores how the power of images has transformed the modern world.

Art historian James Fox explores how the power of images has transformed the modern world.