站立喜劇演員阿原晚上要登台演出，整天借錢又遊手好閒的爸爸卻突然驟逝，笑話還沒寫完，馬上要到醫院處理後事。登場在即，他看著爸爸留下的遺物，心中默默做出定……。潘客印主演，喜劇明星黃豪平、微笑丹尼跨刀演出；站上舞台，地獄哽葷素不忌又真情流露，生活荒謬、愁緒難解，就在短短幾分鐘的表演裡正面迎擊。

“狂いの雰囲気”が解き放たれた海辺の町を舞台に、14歳の中学生たちの青春が描かれる本作。

優勝賞金1億円、アマチュア女子麻雀日本一決定戦。1週間ぶっ続け168時間、休憩時間は各人2時間ずつの計8時間のみという地獄の決勝戦に駒を進めたのは、恋人に捨てられてグラビアからAVに売られた人気セクシー女優の麻央。彼女は大会の運営をしている広告会社からイカサマを強いられており、ブラジャーの中に牌を隠している。そして、両親を自殺で失った七海。自分を捨てた顔も知らない父親を捜している希。七海と希は以前同じ刑務所に入っており、そこでは犬猿の仲であった。最後に母親が刑務所に入っている凛。それぞれに暗い過去を背負いながらも、大会で優勝して1億円を手にし、未来に希望を見出さんとしている。168時間ぶっ続けという過酷すぎる麻雀レースで最後に微笑むのは、果たしていったい誰なのか! 戦いの火ぶたが今切って落とされる!

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元レースクイーンの椎名絵里香を主演に迎えた“監禁レイプ物”の決定版。銀行員の則子は、ある日人気HP「始末屋参上！」にメールを送る。しかし、このメールを機に則子が勤める銀行が襲撃される大事件に発展してしまう。

最後の最後までソソらせて・・・感じさせて・・・イキたい・・・。ONANIE QUEENの清水ひとみが魅せる究極のフィンガーファンタジー！！ 　　 　　清水ひとみはある法律事務所に勤務していた。その事務所の弁護士・飯田昌之とは不倫関係にあった。シィティーホテルで激しく絡み合い体を重ねる二人・・・飯田の迪送に答える様に荒々しくひとみが悶え狂う。 　　 　　ひとみは真剣であった・・・しかし、一方の飯田は妻が出産のために入院している間の火遊びの浮気程度にしか考えていなかった。そのことを知ってしまったひとみは、事務所を辞めて、姉の冴子のマンションに居候することにした・・・。 　　 　　冴子のマンションには一人の見知らぬ男が住みついていた、カメラマンの川村忠義であった。ひとみは四畳半の一部屋を占拠した、失恋の痛手を癒やすための新たな生活がこの部屋から始まるのであった・・・。

元レースクイーンの椎名絵里香を主演に迎えた“監禁レイプ物”の決定版。銀行員の則子は、ある日人気HP「始末屋参上！」にメールを送る。しかし、このメールを機に則子が勤める銀行が襲撃される大事件に発展してしまう。

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