意外穿越成了一本小白文里的舔狗男配!陈宇的人设是顶尖富二代，他对自己的未婚妻死心塌地到了极致。无论女主提出何种要求，陈宇总是毫不犹豫地言听计从，而魂穿到配角身上的我看着原主的巨大财富，扭头决定不舔了。

政局腐败民不聊生的晚清末年，宋查理（姜文）凭借其在美国所获先进知识与孙中山（赵文瑄）合力，企图推翻满清。 …

伊莉迪亞被委派到一家當代藝廊，負責某場表演藝術展覽的清潔工作。展覽當天，藝術家有的裝扮成傢俱任人使用，有的在乳牛面前爆吃牛肉堡，而參觀的觀眾則拍手叫好。伊莉迪亞能否在困惑之餘，安然度過這詭異的一天？導演以喜劇手法諷刺藝術圈，然而老百姓所見的荒誕，或許就是藝術圈的日常。

情景喜剧《非常家族〉是围绕着宋家这个大家庭日常所发生的故事。当中人物性格独特，而他们在生活上的遭遇也天天不同。常开心早年丧夫，独立抚养四个子女：宋金、宋银、宋富、宋贵。她虽然力经艰辛，但乐天知命，开办“喜雀会”，聚集各路英雄，他们各有不同的性格与背景，到哪里都可以反映出人性百态。宋富嫁予余天齐为妻，宋余两家结为亲家。 　　而开心的妹妹常美丽家予毛德辉为妻，宋家与余、毛两家又衍生许多复杂关系，妙趣橫生，笑中有淚。宋、余、毛三家人正好代表了出生草根的市井之徒、勞動階級、白領中產階級，及回流家庭；表達出現金许多香港人的心声，而发生在他们身上的故事，亦是千万香港人的写照~！ 　　常开心（卢宛茵）早年丧夫，独力抚养四名子女：宋金（尹扬明）、宋银（林伟）、宋富（黄纪莹）、宋贵（古天乐）。她虽历尽艰辛，但乐天知命，开办‘喜雀会’，聚集各路英雄，他们各有不同的性格及背景，演绎了一副美丽的人生画面，妙趣横生，笑中有泪……

女学生欧拉大学毕业后返家与家人同住，对生活感到迷惘的她，接触了各式各样的人，也试图弄清楚未来的方向。

央视《家具里的中国》首部家具文化纪录片

1981年春，宋庆龄病重，思念远在美国的妹妹宋美龄。然后倒叙晚清末年，政局腐败，民不聊生，在美国受教育的宋查理凭着他在西方吸收的先进知识，与孙中山一齐合力推翻满清。宋查理的三个儿子后任职民国政府重臣，三个女儿从小到美国留学，学成后大姐宋霭龄下嫁孔祥熙，宋庆龄不顾父亲反对追随孙中山，蒋介石为宋美龄倾倒，开展追求。在宋霭龄怂恿之下，小妹下嫁蒋介石。经历辛亥革命，陈炯明叛变，孙中山遇难，孙中山北上病故，蒋介石清党，日本侵略中国，西安事变等历史事件。宋家三姐妹的关系也在这动荡不安的政局里起着变化。最后，宋庆龄临终也见不到妹妹一面，遗憾而亡。

More than once, the protagonists in Mimang wonder where they are and where they’re going—it is a concrete, geographical question born from walking around the streets of Seoul, but as the film progresses, that urban journey also proves to be an existential one. We accompany the characters in some stretches of their path—many years separate each of the episodes that make up the film, and that distance reveals changes through what remains. This is not a film about earthquakes, but about small transformations, and the marks of time can be seen not only in the actors’ bodies, but also in that other omnipresent protagonist that is Seoul, whose vitality invades every shot. Like others before him (it’s inevitable to think about Truffaut or Linklater), here, Kim Taeyang reminds us that cinema is the best time machine that has been invented so far. 　　源自：https://www.mardelplatafilmfest.com/38/en/pelicula/mimang

More than once, the protagonists in Mimang wonder where they are and where they’re going—it is a concrete, geographical question born from walking around the streets of Seoul, but as the film progresses, that urban journey also proves to be an existential one. We accompany the characters in some stretches of their path—many years separate each of the episodes that make up the film, and that distance reveals changes through what remains. This is not a film about earthquakes, but about small transformations, and the marks of time can be seen not only in the actors’ bodies, but also in that other omnipresent protagonist that is Seoul, whose vitality invades every shot. Like others before him (it’s inevitable to think about Truffaut or Linklater), here, Kim Taeyang reminds us that cinema is the best time machine that has been invented so far. 　　源自：https://www.mardelplatafilmfest.com/38/en/pelicula/mimang

故事发生在如火如荼、如痴如狂的文革时期。大喇叭里传来了激昂亢进的革命歌曲，土墙上写着“横扫一切牛鬼蛇神”的革命标语。拿着弹弓的少年在村里走来走去，偶尔惹出一点小的祸端，被人马上两句也不以为意。她跳入某个寂静的院落，在布满落叶的地上发现了被火烧过的皮影道具。房间里传来一阵老人的咳嗽声，男孩偷偷张望过去，发现皮影老艺人叼着旱烟袋，一脸愁容兀自呆坐。曾经赖以为生的皮影戏在“破四旧”的浪潮中被踩在脚下，往昔的美好回忆一去不复返。男孩挑起皮影，隔着窗挑逗着老人，他向老人询问皮影的头在那里，老人却不发一言，想了想干脆给他重新画了一个。 　　在他们的心中，都有一个无法割舍的记忆……