过去企业需要在每台电脑中安装软件，而现在开始引进全新的技术——“云计算”。互联网中的巨大的计算机替代电脑负责进行所有处理，IT产业的版图面临重大的变化，传统的软件产业将被“云”企业所替代。 　　庞大的计算机存在于网络空间，能轻易从任何地方接入，一旦接入，便可利用“云”的飞快的运算速度和性能。 　　“云”的卖点是低廉的费用，即使没有资金实力的企业，也能利用强大的信息处理功能，这具有划时代的意义。 　　将改变企业的经营和每个人的工作方式的“云计算”，我们一起来探讨其中蕴藏的潜力和待解决的课题——新信息革命-云计算技术的冲击

Sobre las nubes (About the Clouds), the portrait of a city and a contemporary saga of a middle class viewed through its relationship with work, depicts the everyday lives of four people with an artistry that’s abundant yet sober, generous yet precise. The dramatisation, stripped of any effects, is entirely devoted to the attention it pays to the characters. Ramiro, Nora, Hernán and Lucía don’t know each other. The only thing they have in common is that they work or are looking for work, and they live in the same city. They never meet, but all of them cross paths with the young woman with aquiline features, a musical presence who discreetly harmonises the film, accompanying it with her gentle melodies. María Aparicio, observing in the background, leaves these solitary presences to develop in parallel. Without ever raising its voice, the film unfolds with restraint and moderation, focusing on humility. When, in the dead of night, a female police officer asks a cross-dressing singer to go and sing elsewhere as he lip-synchs Maria Callas’ rendition of Tacea la notte placida (How Peaceful was the Night), all the sadness of a world reduced to silence is encapsulated in a sequence of rare beauty. In this melancholic black and white painting, the poetics of the image elevate the everyday to the unusual, the gloom to sweet fantasy, in discrete epiphanies like those magic tricks performed with mischief or the savvy pleasure taken in reciting a theatrical script. “I was sad, but I’m better” says one of the characters at the end of the film. Just as the clouds over the city come and go, caught up in the infinite movement of time, the characters’ sadness eventually subsides and seems to disappear to “that place that no one has ever visited, that place we call the past”, in the words of Juan José Saer (Las Nubes). 　　源自：https://fidmarseille.org/en/film/sobre-las-nubes-about-the-clouds/

Sobre las nubes (About the Clouds), the portrait of a city and a contemporary saga of a middle class viewed through its relationship with work, depicts the everyday lives of four people with an artistry that’s abundant yet sober, generous yet precise. The dramatisation, stripped of any effects, is entirely devoted to the attention it pays to the characters. Ramiro, Nora, Hernán and Lucía don’t know each other. The only thing they have in common is that they work or are looking for work, and they live in the same city. They never meet, but all of them cross paths with the young woman with aquiline features, a musical presence who discreetly harmonises the film, accompanying it with her gentle melodies. María Aparicio, observing in the background, leaves these solitary presences to develop in parallel. Without ever raising its voice, the film unfolds with restraint and moderation, focusing on humility. When, in the dead of night, a female police officer asks a cross-dressing singer to go and sing elsewhere as he lip-synchs Maria Callas’ rendition of Tacea la notte placida (How Peaceful was the Night), all the sadness of a world reduced to silence is encapsulated in a sequence of rare beauty. In this melancholic black and white painting, the poetics of the image elevate the everyday to the unusual, the gloom to sweet fantasy, in discrete epiphanies like those magic tricks performed with mischief or the savvy pleasure taken in reciting a theatrical script. “I was sad, but I’m better” says one of the characters at the end of the film. Just as the clouds over the city come and go, caught up in the infinite movement of time, the characters’ sadness eventually subsides and seems to disappear to “that place that no one has ever visited, that place we call the past”, in the words of Juan José Saer (Las Nubes). 　　源自：https://fidmarseille.org/en/film/sobre-las-nubes-about-the-clouds/

全京城皆知顾丞相之子顾云峥将迎娶沈家独女沈凝。然而，云国规定女子年满二十未嫁，官府将为其指配婚约，甚至可能嫁猪嫁狗。眼看沈凝即将年满二十，顾云峥却宣布要纳沈凝收留的孤女为贵妾，且地位高于沈凝。沈凝心痛不已，决定取消婚约，另嫁他人。顾云峥不信，仍与那孤女亲密往来。沈凝心灰意冷，远嫁江南富商。顾云峥得知后，不顾即将举行的婚礼，追至沈凝家中，却为时已晚。

소매치기로 살아가던 혜빈은 어느날 석광의 도박판에 끼게 되고 그날이 오히려 자신의 삶에 더 어두운 날들의 시작이란 것을 전혀 깨닫지 못하고 있다 　　먹히고 먹는 그 도박판에서 마지막까지 살아남는자는 누구일까? 모든게임이 끝난후 혜빈은 석광의 돈을 가로채 달아나 버린다

소매치기로 살아가던 혜빈은 어느날 석광의 도박판에 끼게 되고 그날이 오히려 자신의 삶에 더 어두운 날들의 시작이란 것을 전혀 깨닫지 못하고 있다 　　먹히고 먹는 그 도박판에서 마지막까지 살아남는자는 누구일까? 모든게임이 끝난후 혜빈은 석광의 돈을 가로채 달아나 버린다

到了天堂之后再次沦为社畜，为了重生大业和拯救世界，他以全新的身份再次回到人间。

本系列是以“市政”与“私生活”谐音为核心的短剧，通过带有一点古风色彩的“明智先生一家”的日常生活，把福知山市在育儿、体育、福利等领域的举措以故事的形式展现出来。每一集的结尾都埋下了续集的伏笔，营造出一种让人“欲罢不能”的观剧感受。