兩位年輕的女導演以影像書信的對話形式討論電影、家庭、母職等。運用深刻的個人反思將日常生活體現於電影中。這些影像片段不僅促使兩人審視自己，也彼此分享自己的一部分。透過鏡頭，同時記錄了時代的變化。

兩位年輕的女導演以影像書信的對話形式討論電影、家庭、母職等。運用深刻的個人反思將日常生活體現於電影中。這些影像片段不僅促使兩人審視自己，也彼此分享自己的一部分。透過鏡頭，同時記錄了時代的變化。

This correspondence, or exchange of letters and video diaries between acclaimed filmmakers Jonas Mekas and José Luis Guerin is extremely potent, there's sorcery at play in the mixture of the two. Together they're light and dark. Mekas knows life's joys, and is always a participant in what he films, Guerín is a detached observer, cold, present only as a black mote, reflected in the eye of one of his subjects. Guerín shoots in black and white and strives for formalism, Mekas loves hazard, loves his chaotic hand-held colour camera. Jonas Mekas felt that his images were inferior to those of Guerín, but a picture of his son Sebastian devouring a pickle, followed by Jonas on the deli sausage and wine, and then a cheeky close up of Goethe's Faust; which of them Faust and which Mephistopheles? That one shot set me thinking about the nature of art and the privilege of artists, and could be interpreted in any one of several fruitful ways. 　　Guerín's Camera is brutal, his viewpoint black, on death and distance. He sends Jonas a morbid video, regarding a Slovenian film writer, which is almost a provocation. One beautiful moment, filmed through a gap in his hotel room's curtains shows a young couple frolicking in the sea, for which brief segment he allows music. It's deliberately voyeuristic though, Guerín is distant he identifies with migrant workers he films in Venice. 　　The films, in an aesthetic sense presents clarity versus confusion, reality versus a dreamer's obfuscation. There's an extent to which what we see is a real correspondence, an extent to which they are talking past one another. Guerín intones that dialogue between filmmakers is an impossibility, over images of fish heads on ice in a market. It's one of two visual quotes I suspected are from Pere Potabella (from Pont de Varsovia). 　　The difference in viewpoint I suspect ultimately is that Mekas sees beauty in the fact that life goes on, wonder in impermanence, Guerín is blanched by it.

This correspondence, or exchange of letters and video diaries between acclaimed filmmakers Jonas Mekas and José Luis Guerin is extremely potent, there's sorcery at play in the mixture of the two. Together they're light and dark. Mekas knows life's joys, and is always a participant in what he films, Guerín is a detached observer, cold, present only as a black mote, reflected in the eye of one of his subjects. Guerín shoots in black and white and strives for formalism, Mekas loves hazard, loves his chaotic hand-held colour camera. Jonas Mekas felt that his images were inferior to those of Guerín, but a picture of his son Sebastian devouring a pickle, followed by Jonas on the deli sausage and wine, and then a cheeky close up of Goethe's Faust; which of them Faust and which Mephistopheles? That one shot set me thinking about the nature of art and the privilege of artists, and could be interpreted in any one of several fruitful ways. 　　Guerín's Camera is brutal, his viewpoint black, on death and distance. He sends Jonas a morbid video, regarding a Slovenian film writer, which is almost a provocation. One beautiful moment, filmed through a gap in his hotel room's curtains shows a young couple frolicking in the sea, for which brief segment he allows music. It's deliberately voyeuristic though, Guerín is distant he identifies with migrant workers he films in Venice. 　　The films, in an aesthetic sense presents clarity versus confusion, reality versus a dreamer's obfuscation. There's an extent to which what we see is a real correspondence, an extent to which they are talking past one another. Guerín intones that dialogue between filmmakers is an impossibility, over images of fish heads on ice in a market. It's one of two visual quotes I suspected are from Pere Potabella (from Pont de Varsovia). 　　The difference in viewpoint I suspect ultimately is that Mekas sees beauty in the fact that life goes on, wonder in impermanence, Guerín is blanched by it.

《制作人(Producer)》以电视人聚集地首尔汝矣岛为中心，讲述每天去电视台6楼上班的PD们(制作人/导演)作为一般上班族的办公室故事，加入综艺部(艺能局)各种各样故事的综艺电视剧

《制作人》讲述了电视台综艺部内发生的一系列故事。孔孝真和车太贤在剧中饰演PD，IU则饰演一位顶级女歌手，金秀贤饰演新入职的PD。

都说来世投胎还作人，他却只想作一张任人搬移踩坐的红色胶凳！青年阿明颓丧怯懦，过着一无是处的生活。打工日漫长，回家更是修罗场。同房妹妹与男伴日日翻云覆雨，逼得他无处可逃，不可告人的家庭秘辛更不时扰人清梦。为了另寻新居，他意外结识地产经纪阿娟，两人乍看剑拔弩张，实则惺惺相惜。然而生活仿佛永无止尽的漩涡，此生到底何时才是个头？

都说来世投胎还作人，他却只想作一张任人搬移踩坐的红色胶凳！青年阿明颓丧怯懦，过着一无是处的生活。打工日漫长，回家更是修罗场。同房妹妹与男伴日日翻云覆雨，逼得他无处可逃，不可告人的家庭秘辛更不时扰人清梦。为了另寻新居，他意外结识地产经纪阿娟，两人乍看剑拔弩张，实则惺惺相惜。然而生活仿佛永无止尽的漩涡，此生到底何时才是个头？

这是一个关于替身的故事。替身自古有之，人称“影子”。有刺杀，就有影子，影子必须在危急关头挺身而出，替主人博回一命；影子又必须与真身互为一体，令…

这是一个关于替身的故事。替身自古有之，人称“影子”。有刺杀，就有影子，影子必须在危急关头挺身而出，替主人博回一命；影子又必须与真身互为一体，令旁人真假难辨如同孪生。关于影子的来龙去脉，真身从来忌讳莫深，不愿提及而令真相扑朔迷离 。沛国大都督子虞 （ 邓超 饰），被敌国战将杨苍 （ 胡军 饰）击败，负伤之后启用从小培养的替身境州 （邓超饰），为他行走在朝堂和战场。同时，沛国国君沛良 （ 郑恺 饰）与大都督子虞互相算计。做为“影子替身”存在的境州在贵族的权谋游戏中苦苦求生，为了活下去而经历种种困境和挣扎 。