創立されたばかりの私立聖学園。第一期生の冴島翠は2学期早々生徒会役員候補に担ぎ出され、その日の午後に立会演説会でスピーチする羽目になってしまう。緊張した面持ちで講堂に行くと、立候補者の中に以前から存在が気になっていたリーゼント頭の男子生徒、須藤晃を見つける。くじ引きにより最初にスピーチを始めた翠だったが、マイクコードに足を引っ掛けて転んでしまい、更にスカートがめくれて全校生徒の前で自分のパンツを丸出しにしてしまう失態を犯してしまうが、晃のフォローにより無事切り抜ける。投票の結果、翠と晃、そして麻宮裕子、瀧川秀一、河野文太の5人が第一期生徒会役員に就任する。こうして、翠は晃たちと生徒会活動を行いながら、3年間の高校生活を送ることになる。

ある女子校で殺人事件が起こった。新聞部の七菜は犯人を探そうと、友達と夜の校舎に忍び込むが…。グラビア・アイドル多数出演の、エロチック・サスペンス・ホラー

ある女子校で殺人事件が起こった。新聞部の七菜は犯人を探そうと、友達と夜の校舎に忍び込むが…。グラビア・アイドル多数出演の、エロチック・サスペンス・ホラー

鲁本出身平凡。身为一名治疗师，他在一个小商场里为病人治疗，这里也是他的居所。虽然籍籍无名，他却有着不同寻常却也令人不安的治疗手法。随着本杰明的出现，鲁本命运的齿轮也开始转动：他变得声名显赫，其“信众”也愈发壮大，他甚至被视为圣人。然而，这份名声最终却给他带来了无尽的痛苦。 　　影片获得2023年布宜诺斯艾利斯电影节主竞赛单元最佳导演奖。

鲁本出身平凡。身为一名治疗师，他在一个小商场里为病人治疗，这里也是他的居所。虽然籍籍无名，他却有着不同寻常却也令人不安的治疗手法。随着本杰明的出现，鲁本命运的齿轮也开始转动：他变得声名显赫，其“信众”也愈发壮大，他甚至被视为圣人。然而，这份名声最终却给他带来了无尽的痛苦。 　　影片获得2023年布宜诺斯艾利斯电影节主竞赛单元最佳导演奖。

The main story of this film is enfolded between opening and closing sequences of a youthful Adam and Eve reliving their famous moment in the Garden of Eden. In the central episode, two young people in love are kept separate by their families. The boy has a monstrous father who lives in a castle and who may or may not actually be a vampire. The girl lives a reasonably prosperous middle-class existence. When the boy's parents die, it looks as though they might be able to get together, but only for a little while. This highly mannered and symbolic Mexican film was made by Rafael Corkidi, the cinematographer for the equally peculiar film, El Topo. - Clarke Fountain, All Movie Guide

The main story of this film is enfolded between opening and closing sequences of a youthful Adam and Eve reliving their famous moment in the Garden of Eden. In the central episode, two young people in love are kept separate by their families. The boy has a monstrous father who lives in a castle and who may or may not actually be a vampire. The girl lives a reasonably prosperous middle-class existence. When the boy's parents die, it looks as though they might be able to get together, but only for a little while. This highly mannered and symbolic Mexican film was made by Rafael Corkidi, the cinematographer for the equally peculiar film, El Topo. - Clarke Fountain, All Movie Guide

7日7频道栏目的基本构架是以故事化的选题为主导，辅以生活服务类资讯信息。2012年停播。

Lord of the Frames: Kurt Kren 　　by Peter Tscherkassky 　　Translation: Elisabeth Frank-Großebner 　　reprinted from exhibition catalog, Kurt Kren at Wiener Secession, 1996 　　In 1964, "Wien Film" refused to print 6/64 Mama und Papa. When Kurt Kren handed in the original, the film grader said with an undertone of sympathy that, given the many cuts, one would not be able to make out anything, anyway. His worries were groundless: when Kren came to pick up the print, some people with flushed faces left the projection room, telling him to get out and never to come back again. A few months later, a similar scene took place at "Listo", where 9/64 O Tannenbaum was not accepted. Kren ultimately found a place that took his films, based on actions by Otto Muhl and Gunter Brus: a house on Peter Kaiser Gasse in Jedlersdorf, a neighborhood in the East of Vienna, on the other side of the river Danube. There, in the 21st district, on the most remote outskirts of town, films were developed and printed in self-made contraptions reminiscent of washing-machine drums. The man who ran the business single-handedly intimated that he was used to explicit images owing to customers from the blue movie scene. The facts that the credits in a few Kren works from those days are slightly out of place and that the name "Kren" next to the copyright sign goes beyond the edge of the frame can be explained in this context. On request, credits were in-house productions, but they were made with a camera that had no view finder, for which reason slipped boards were none too unusual. There were no objections to the films' content, formal and creative issues played a secondary role. 　　Be that as it may - the "© Kren" jutting out over the frame can easily be understood as a metaphor of the avant-garde and a harbinger of cinema outside the screen - Expanded Cinema. It is precisely during the "Jedlersdorf period" in his oeuvre that Kurt Kren demonstrates some of its best knacks to modern cinematography. 　　(Source: http://www.hi-beam.net/mkr/kk/kk-bio.... 　　http://www.ubu.com/film/kren.html

Lord of the Frames: Kurt Kren 　　by Peter Tscherkassky 　　Translation: Elisabeth Frank-Großebner 　　reprinted from exhibition catalog, Kurt Kren at Wiener Secession, 1996 　　In 1964, "Wien Film" refused to print 6/64 Mama und Papa. When Kurt Kren handed in the original, the film grader said with an undertone of sympathy that, given the many cuts, one would not be able to make out anything, anyway. His worries were groundless: when Kren came to pick up the print, some people with flushed faces left the projection room, telling him to get out and never to come back again. A few months later, a similar scene took place at "Listo", where 9/64 O Tannenbaum was not accepted. Kren ultimately found a place that took his films, based on actions by Otto Muhl and Gunter Brus: a house on Peter Kaiser Gasse in Jedlersdorf, a neighborhood in the East of Vienna, on the other side of the river Danube. There, in the 21st district, on the most remote outskirts of town, films were developed and printed in self-made contraptions reminiscent of washing-machine drums. The man who ran the business single-handedly intimated that he was used to explicit images owing to customers from the blue movie scene. The facts that the credits in a few Kren works from those days are slightly out of place and that the name "Kren" next to the copyright sign goes beyond the edge of the frame can be explained in this context. On request, credits were in-house productions, but they were made with a camera that had no view finder, for which reason slipped boards were none too unusual. There were no objections to the films' content, formal and creative issues played a secondary role. 　　Be that as it may - the "© Kren" jutting out over the frame can easily be understood as a metaphor of the avant-garde and a harbinger of cinema outside the screen - Expanded Cinema. It is precisely during the "Jedlersdorf period" in his oeuvre that Kurt Kren demonstrates some of its best knacks to modern cinematography. 　　(Source: http://www.hi-beam.net/mkr/kk/kk-bio.... 　　http://www.ubu.com/film/kren.html