Three "miniatures" touching on romantic relationships between men and women from different perspectives. Matěj, a young vegetable garden guard and lover of idleness and village women, spends the night in the grass with Agáta, the wife of a switchman, even though he is not particularly interested in the unsatisfied woman. Voloďa, a young man growing up without a father, is confused about his feelings for the married thirty-year-old Míša, who seduces him on a whim and then rejects him. The hunter with a "free spirit" refuses to spend even a single day with his unhappy village wife, whom the mayor (who first got him drunk) married him to years ago out of envy for his shooting skills.

it was interesting to see the acrobatic Japanese actors of the Tenjosajiki company in Shuji Terayama’s Directions to servants. The title and some of the text were taken from Swift’s satire, but the main inspiration seemed to come from Genet’s Les bonnes. Multiplying the maids into a large cast of servants, male and female, who take it in turns to imitate the master, Tereyama has physicalized and partly mechanized the action. Domination is imposed partly through machines—we see a man submitting to an imperious voice on a tape recorder, lowering his trousers and climbing inside a sadistic machine that beats his bare buttocks. 　　The ingenuity, the sadism and the offbeat humour are all characteristic of the production. The main cruelty to the audience was in the over-amplification of J.A. Seazer’s music. I sat with my hands over my ears for a lot of the time. The visual assault was almost equally strong, and some of the theatrical imagery was quite unlike anything that had been seen in this country. In one meticulously choreographed sequence the servant playing at being master throws a bone to a succession of servants who play at being dogs. In another, a servant trying to steal food from a cupboard is terrified to find that it is like a puzzle: each panel conceals a face that sings at him accusingly, and he can silence it only by sliding a panel that reveals another singing face.

it was interesting to see the acrobatic Japanese actors of the Tenjosajiki company in Shuji Terayama’s Directions to servants. The title and some of the text were taken from Swift’s satire, but the main inspiration seemed to come from Genet’s Les bonnes. Multiplying the maids into a large cast of servants, male and female, who take it in turns to imitate the master, Tereyama has physicalized and partly mechanized the action. Domination is imposed partly through machines—we see a man submitting to an imperious voice on a tape recorder, lowering his trousers and climbing inside a sadistic machine that beats his bare buttocks. 　　The ingenuity, the sadism and the offbeat humour are all characteristic of the production. The main cruelty to the audience was in the over-amplification of J.A. Seazer’s music. I sat with my hands over my ears for a lot of the time. The visual assault was almost equally strong, and some of the theatrical imagery was quite unlike anything that had been seen in this country. In one meticulously choreographed sequence the servant playing at being master throws a bone to a succession of servants who play at being dogs. In another, a servant trying to steal food from a cupboard is terrified to find that it is like a puzzle: each panel conceals a face that sings at him accusingly, and he can silence it only by sliding a panel that reveals another singing face.

父亲包著石膏躺在客厅沙发，不愿卸下患者的身份，胜文在驾训班教练车内盯著一旁的教练，他不想面对家裡以及不断在逃避的父亲，但似乎也无法面对身旁这位教练，渐渐的，胜文融入了他父亲的倒影。

改编自金鹅的小说《在北宋当陪房》

鹿児島最南端の小さな漁港。その港の前にある小さな商店を切り盛りしている美巳(ミミ)は、美大生として卒業制作作品の制作に思い悩んでいた。 　　美巳の友人で、UFO 好きの希良(キラ)は、美巳とは逆にテキパキと卒業制作を進めていて、希良に追いつけない美巳。美巳が中学１年生の頃に両親が離婚。母親が家を出て行ってから、漁師だった父親と2 人で何とか店を守ってきたが、 その父親も昨年末に心臓発作で急死。父の死後、父の親戚という女性が店を仕切るようになり、自分の大切な場所を奪われたようで気持ちが落ち着かない美巳。その頃から、美巳には過去の記憶に関するさまざまな音が聞こえるようになっていた。廃校の小学校の前に立てば、子どもたちの歓声や運動会の音が聞こえた。最近では大きく不思議な光る『何か』を目撃するようになる。それは、夢なのか現実なのか...！？自分という小さな世界で生きてきた美巳が、 様々な出会いや不思議な体験を通して少しずつ成長していく

鹿児島最南端の小さな漁港。その港の前にある小さな商店を切り盛りしている美巳(ミミ)は、美大生として卒業制作作品の制作に思い悩んでいた。 　　美巳の友人で、UFO 好きの希良(キラ)は、美巳とは逆にテキパキと卒業制作を進めていて、希良に追いつけない美巳。美巳が中学１年生の頃に両親が離婚。母親が家を出て行ってから、漁師だった父親と2 人で何とか店を守ってきたが、 その父親も昨年末に心臓発作で急死。父の死後、父の親戚という女性が店を仕切るようになり、自分の大切な場所を奪われたようで気持ちが落ち着かない美巳。その頃から、美巳には過去の記憶に関するさまざまな音が聞こえるようになっていた。廃校の小学校の前に立てば、子どもたちの歓声や運動会の音が聞こえた。最近では大きく不思議な光る『何か』を目撃するようになる。それは、夢なのか現実なのか...！？自分という小さな世界で生きてきた美巳が、 様々な出会いや不思議な体験を通して少しずつ成長していく

邺城首富楚墨寒身患寒症，需与携带太阳花胎记的女子交合续命。当他偶遇为救弟在街头卖货的周莹，发现其胎记后强掳周莹契约结婚。可随着后续相处，楚墨寒暗中资助周莹弟弟治疗，让周莹对他渐生情愫。周莹欲献身救夫，但楚墨寒不忍伤害拒绝。幸好楚墨寒苦苦寻得两全之法，不料却被周莹堂妹调换药物，导致周莹"死亡"。六年后，楚墨寒发现周莹未死并育有一女，开启追妻之路，终解误会重获真爱。

大家对“命中注定”这个词都耳熟能详了，也许有人要问：是不是真有“命运”这回事呢？如果有，我们能不能改变既定的命运呢？答案是肯定的——有，而且可以通过我们的努力去改变！ 　　《了凡四训》这本书是中国明朝袁了凡先生所作的家训，以此来教戒他的儿子袁天启，认识命运的真相，明辨善恶的标准，改过迁善。并且以他自己改造命运的经验来“现身说法”：在早期验证了命数的准确性，到后来进一步通晓了命数的由来，说明了人们完全可以掌握和改造自己的命运、自求多福的道理。 　　人类文明到了高度发展的今天，我们已经掌握了丰富的历史资料和宇宙知识，人们都在探求宇宙人生的真相，以解决生命的问题，亦既生死方面的问题。佛法，这一博大精深的宝藏，可以提供和满足这方面的需求。而《了凡四训》阐明了佛法中的许多根本道理，所以它也是佛法的基础和修行学佛的基础。 　　2001年，陈晓旭以中国世邦文化发展有限公司的名义，根据明代袁了凡先生的真实传奇故事改编，邀请导演黄蜀芹的儿子郑大圣执导，专门投资拍摄了一部“中华传统道德教典———《了凡四训》”的电视剧。 　　该剧共四集：《第一篇 立命之学》、《第二篇 改过之法《第三篇 积善之方》、《第四篇 谦德之效》，片长165分钟。出品单位就是陈晓旭的中国世邦文化发展有限公司，拍摄总顾问是净空老法师。 　　《了凡四训》展现了袁了凡对儿子的教诲，教他如何做人处事、如何消除灾难、如何修善积福。 　　该片导演是导演黄蜀芹的儿子郑大圣，他导演的纪实电视电影《一个农民的导演生涯》曾在奥地利的第32届易本希国际电影节上荣获过银奖。

大家对“命中注定”这个词都耳熟能详了，也许有人要问：是不是真有“命运”这回事呢？如果有，我们能不能改变既定的命运呢？答案是肯定的——有，而且可以通过我们的努力去改变！ 　　《了凡四训》这本书是中国明朝袁了凡先生所作的家训，以此来教戒他的儿子袁天启，认识命运的真相，明辨善恶的标准，改过迁善。并且以他自己改造命运的经验来“现身说法”：在早期验证了命数的准确性，到后来进一步通晓了命数的由来，说明了人们完全可以掌握和改造自己的命运、自求多福的道理。 　　人类文明到了高度发展的今天，我们已经掌握了丰富的历史资料和宇宙知识，人们都在探求宇宙人生的真相，以解决生命的问题，亦既生死方面的问题。佛法，这一博大精深的宝藏，可以提供和满足这方面的需求。而《了凡四训》阐明了佛法中的许多根本道理，所以它也是佛法的基础和修行学佛的基础。 　　2001年，陈晓旭以中国世邦文化发展有限公司的名义，根据明代袁了凡先生的真实传奇故事改编，邀请导演黄蜀芹的儿子郑大圣执导，专门投资拍摄了一部“中华传统道德教典———《了凡四训》”的电视剧。 　　该剧共四集：《第一篇 立命之学》、《第二篇 改过之法《第三篇 积善之方》、《第四篇 谦德之效》，片长165分钟。出品单位就是陈晓旭的中国世邦文化发展有限公司，拍摄总顾问是净空老法师。 　　《了凡四训》展现了袁了凡对儿子的教诲，教他如何做人处事、如何消除灾难、如何修善积福。 　　该片导演是导演黄蜀芹的儿子郑大圣，他导演的纪实电视电影《一个农民的导演生涯》曾在奥地利的第32届易本希国际电影节上荣获过银奖。