林秀兰在女儿赵颜和外孙女姜潮汐遭渣男姜超、小三陈琳纵火害死後，意外魂穿到外孙女姜潮汐身上，回到赵颜中四千万彩票大奖的当天。为阻止女儿重蹈覆辙，林秀兰以姜潮汐的身份，不断提醒赵颜提防姜超和其闺蜜陈琳。她先是精准预言陈琳的到访细节，说服赵颜隐瞒中奖事实，又屡次拆穿陈琳的小把戏，试图让赵颜认清两人的真面目，而姜超与陈琳仍在暗中谋划夺取钱财。

With a place in the family business and a beautiful girlfriend, wealthy Antoine seems to have everything. But his life is sent spinning when he's offered the lead role in a film. Agonizing over whether he should take the part, Antoine learns that Lucas, the actor previously cast for the role, had committed suicide. Apparently Lucas, who was gay, was having a tragic affair with Louise, the film's domineering director. Though uncertain about the project, Antoine decides to star in the film. His father quickly kicks him out of the house, forcing Antoine into the seductive arms of Louise...

秦永健是中央美院的人体模特。因为身体素质和敬业精神，秦赢得美院“第一男模”的称号。其实秦永健的理想是做一个演员，只是入门无道，经朋友点拨，便进入了模特行业，因为他更愿意展示身体的美，所以每当有人在画他，塑他，拍他的时候，他就已经进入一个演员的角色了，并在这“神圣的事业” 中获得心里慰藉。但现实的生活不是戏，他还要为生计奔波，转战于各种战场，并为了自身的权益，逐渐学会了讨价还价。 　　导演阐述: 　　秦永健和方敏都是中央美院的人体模特。因爲他们出色的身体素质和敬业精神，秦永健赢得美院“第一男模”的称号，方敏则以“第一个女大学生人体模特”得到媒体的宣扬。秦永健的理想本是做一个演员，只是入门无道。经朋友点拨，进入了模特行业，因爲他更愿意展示身体的美，所以每当有人在画他、塑他、拍他的时候，他就已经进入一名演员的角色了，并在这“神圣的事业”中获得心里慰藉。方敏也是在坚持着自己的梦想~~~ 　　 　　 　　编导手记: 　　北漂的生活无非爲梦想而已，秦勇健通过身体对艺术的追求，满足不了生活对他的要求，他对女儿的爱却弥补不了女儿跟他之间的距离，作爲社会中孤独的个体， 　　他需要各种情感的诉诸，然而社会是现实的，现实的只能让他做出选择，有选择就会有痛苦，有痛苦的选择，他的生活才是精彩的.那是混沌不堪不可比的。 　　导演顾桃的北漂生活也是坎坷的，我觉得或许这就是生活给了他和秦勇健一个身份—北漂，我也是。同是用拳打脚踢生活在一个城市，同样都是爲梦想而坚持着。。。走着走着，夜色降临，如水一般的流淌。这个城市渐渐静歇，五光十色的霓红灯把穷的，富的，醉生梦死的，辛勤奔劳的人们引进了或苦或甜的境地，让他们虚无中的至衰和极乐,憧憬与骇异，然而这也是尘世的继续与夸张而已~人难得的就是坚持梦想吧.

秦永健是中央美院的人体模特。因为身体素质和敬业精神，秦赢得美院“第一男模”的称号。其实秦永健的理想是做一个演员，只是入门无道，经朋友点拨，便进入了模特行业，因为他更愿意展示身体的美，所以每当有人在画他，塑他，拍他的时候，他就已经进入一个演员的角色了，并在这“神圣的事业” 中获得心里慰藉。但现实的生活不是戏，他还要为生计奔波，转战于各种战场，并为了自身的权益，逐渐学会了讨价还价。 　　导演阐述: 　　秦永健和方敏都是中央美院的人体模特。因爲他们出色的身体素质和敬业精神，秦永健赢得美院“第一男模”的称号，方敏则以“第一个女大学生人体模特”得到媒体的宣扬。秦永健的理想本是做一个演员，只是入门无道。经朋友点拨，进入了模特行业，因爲他更愿意展示身体的美，所以每当有人在画他、塑他、拍他的时候，他就已经进入一名演员的角色了，并在这“神圣的事业”中获得心里慰藉。方敏也是在坚持着自己的梦想~~~ 　　 　　 　　编导手记: 　　北漂的生活无非爲梦想而已，秦勇健通过身体对艺术的追求，满足不了生活对他的要求，他对女儿的爱却弥补不了女儿跟他之间的距离，作爲社会中孤独的个体， 　　他需要各种情感的诉诸，然而社会是现实的，现实的只能让他做出选择，有选择就会有痛苦，有痛苦的选择，他的生活才是精彩的.那是混沌不堪不可比的。 　　导演顾桃的北漂生活也是坎坷的，我觉得或许这就是生活给了他和秦勇健一个身份—北漂，我也是。同是用拳打脚踢生活在一个城市，同样都是爲梦想而坚持着。。。走着走着，夜色降临，如水一般的流淌。这个城市渐渐静歇，五光十色的霓红灯把穷的，富的，醉生梦死的，辛勤奔劳的人们引进了或苦或甜的境地，让他们虚无中的至衰和极乐,憧憬与骇异，然而这也是尘世的继续与夸张而已~人难得的就是坚持梦想吧.

With a place in the family business and a beautiful girlfriend, wealthy Antoine seems to have everything. But his life is sent spinning when he's offered the lead role in a film. Agonizing over whether he should take the part, Antoine learns that Lucas, the actor previously cast for the role, had committed suicide. Apparently Lucas, who was gay, was having a tragic affair with Louise, the film's domineering director. Though uncertain about the project, Antoine decides to star in the film. His father quickly kicks him out of the house, forcing Antoine into the seductive arms of Louise...

宋雨桐穿成年代文里领养了四个孩子的血包养母！原主丈夫在成亲当天设计假死，婆家又硬塞给她四个没人要的孩子！却没成想养了四个白眼狼！大儿子瞒着父亲假死，小儿子听信亲娘挑拨。大女儿恋爱脑给小三养孩子，拉着宋雨桐一起给婆家当保姆。小女儿搅家精，闹得家里鸡飞狗跳。宋雨桐直接掀桌不不干了！没想到心声泄露，四个子女开始跪求她不要离开。改编自番茄小说《资本家老太太被读心后，全家掀桌》，作者星茴

A rare, hysterical gem from early Soviet cinema. CHEMI BEBIA (MY GRANDMOTHER) is a Georgian avant-garde slapstick silent comedy that was banned in the Soviet Union for almost 50 years. And it's pretty easy to see why. Whereas later Georgian filmmakers became rather adept at slipping political criticism under the noses of the Soviet censors, this film ends with a completely unambiguous rallying call for the death of bureaucrats. Lots of the creative techniques one associates with early Soviet cinema are on display here, but they are filtered through a sieve of early American slapstick and used mostly (and most successfully) for comedy. Imagine Harold Lloyd starring in Terry Gilliam's BRAZIL and you'll start to get an idea of what MY GRANDMOTHER is like. It's hilarious, and historically it's interesting to watch in that it's just as politically obvious as any other early Soviet film, but in an entirely different way. 　　Imaginative, innovative, amazing! This is a wonderful film that works on so many levels. As a farce, it's up there with Charlie Chaplin or Monsieur Hulot. It's really funny. The score is absolutely brilliant. The acting is top-notch. As a satire on corruption and bureaucracy, it hits the nail on the head. The elements of surrealism work tremendously well in acting, sets and scenes: just extreme enough to make the point well without losing touch with the underlying reality. Through all this, key themes are maintained. The director also plays effortlessly with gender, age and hierarchical roles, switching and undermining them relentlessly. Innovative film techniques, too, are used exceptionally well: puppetry, collage, distortion plus many more. One could doubtless see this film a dozen times and still find something new.

A rare, hysterical gem from early Soviet cinema. CHEMI BEBIA (MY GRANDMOTHER) is a Georgian avant-garde slapstick silent comedy that was banned in the Soviet Union for almost 50 years. And it's pretty easy to see why. Whereas later Georgian filmmakers became rather adept at slipping political criticism under the noses of the Soviet censors, this film ends with a completely unambiguous rallying call for the death of bureaucrats. Lots of the creative techniques one associates with early Soviet cinema are on display here, but they are filtered through a sieve of early American slapstick and used mostly (and most successfully) for comedy. Imagine Harold Lloyd starring in Terry Gilliam's BRAZIL and you'll start to get an idea of what MY GRANDMOTHER is like. It's hilarious, and historically it's interesting to watch in that it's just as politically obvious as any other early Soviet film, but in an entirely different way. 　　Imaginative, innovative, amazing! This is a wonderful film that works on so many levels. As a farce, it's up there with Charlie Chaplin or Monsieur Hulot. It's really funny. The score is absolutely brilliant. The acting is top-notch. As a satire on corruption and bureaucracy, it hits the nail on the head. The elements of surrealism work tremendously well in acting, sets and scenes: just extreme enough to make the point well without losing touch with the underlying reality. Through all this, key themes are maintained. The director also plays effortlessly with gender, age and hierarchical roles, switching and undermining them relentlessly. Innovative film techniques, too, are used exceptionally well: puppetry, collage, distortion plus many more. One could doubtless see this film a dozen times and still find something new.