Hit man Cleve approaches writer/cop Dennis about a story for his next book: How Cleve made a living, working for one of the most powerful politicians in the country. To get the story right, they travel around the country to gather statements and evidence, while strong forces use any means they can to keep the story untold.

「@川島プロダクション」はGCK（Great Company Kawashima）と改名して業容を拡大していたが、川島が新人に元AV女優を入社させるなどの放漫経営のため同社を追放され、事業を始めた江東区の雑居ビルに戻って新しく「@川島プロNEO」を立ち上げるが、所属タレントが1人もおらず、経営は火の車。 　　そこに同じくGCKをクビになった飯塚・豊本・あかりも加わり、今や敏腕プロデューサーになった升野の力も借りて@川島プロNEOの再建に乗り出す。

江东区的弱小艺能事务所@川岛Production 为顺利举办圣诞祭典，定场地，排节目，准备前夜祭，还为了神秘的虚拟youtuber 卡太酷米与大公司KINDOM事务所展开决斗的故事。

2012年夏季 テレビ東京 深夜剧 　　シチュエーションコメディドラマ『ウレロ☆未完成少女』が、7月13日からテレビ東京系列で放送される。 　　同番組は、2011年にテレビ東京系列で放送されたドラマ『ウレロ☆未確認少女』の新シーズンにあたるもの。前作の『ウレロ☆未確認少女』は、弱小芸能事務所「＠川島プロダクション」を舞台に、事務所社長役の劇団ひとり、プロデューサー役のバカリズム、事務所スタッフ役の東京03と早見あかり（ex.元ももいろクローバー）が巻き起こすドタバタ劇だ。彼らが売り出しに奮闘するアイドルグループ「未確認少女隊UFI（ユーフィー）」の楽曲の歌声をももいろクローバーZが担当したことや、観客が見守る中で撮り直しなしのノンストップ収録を行ったことでも話題を集めた。 　　新シーズンとなる『ウレロ☆未完成少女』は、前作のキャストが引き続き登場するほか、脚本も放送作家のオークラと土屋亮一（シベリア少女鉄道）が続投。気になる舞台設定や役どころは、初回放送まで明かされないとのことだ。なお、オープニングテーマは在日ファンクの書き下し楽曲“ウレロ！のテーマ2”となる。

江东区的弱小艺能事务所@川岛Production 为顺利举办圣诞祭典，定场地，排节目，准备前夜祭，还为了神秘的虚拟youtuber 卡太酷米与大公司KINDOM事务所展开决斗的故事。

库尔特（汤姆·希林 Tom Schilling 饰）的姨母曾经被关进过集中营，最终在纳粹医生卡尔（塞巴斯蒂安·科赫 Sebastian Koch 饰）的折磨下不幸死去。虽然库尔特幸运的在柏林墙建成之前逃往了西德，但他的整个童年时代都生活在纳粹的阴影之下，这给他的人格带来了极大的创伤。 　　之后，库尔特进入了杜塞道夫美术学院就读，无法走出过去阴影的他将内心的绝望和伤痛都挥洒在了画布之上。一次偶然中，库尔特邂逅了名为艾利（葆拉·贝尔 Paula Beer 饰）的女孩，美丽活泼的艾利渐渐的治愈了库尔特内心的伤痕，当两人鼓起勇气想要将关系再推进一步时，却遭到了艾利父亲的强烈反对。

库尔特（汤姆·希林 Tom Schilling 饰）的姨母曾经被关进过集中营，最终在纳粹医生卡尔（塞巴斯蒂安·科赫 Sebastian Koch 饰）的折磨下不幸死去。虽然库尔特幸运的在柏林墙建成之前逃往了西德，但他的整个童年时代都生活在纳粹的阴影之下，这给他的人格带来了极大的创伤。 　　之后，库尔特进入了杜塞道夫美术学院就读，无法走出过去阴影的他将内心的绝望和伤痛都挥洒在了画布之上。一次偶然中，库尔特邂逅了名为艾利（葆拉·贝尔 Paula Beer 饰）的女孩，美丽活泼的艾利渐渐的治愈了库尔特内心的伤痕，当两人鼓起勇气想要将关系再推进一步时，却遭到了艾利父亲的强烈反对。

Dream Work does not so much present dream content than filmic methods of representation corresponding to Freudian dreamwork: mechanisms of displacement and condensation are seen in relation to figurative elements found in Tscherkassky’s source material. Tscherkassky processes these in a manner that resembles Freud’s description of the compression (Pressung) of dream thoughts that takes place in the work of dreams, whereby “components are turned, crumble, and get pushed together, like drift ice.” 　　源自：https://www.filmfestival.gr/en/section-tiff/movie/1241/14624

Dream Work does not so much present dream content than filmic methods of representation corresponding to Freudian dreamwork: mechanisms of displacement and condensation are seen in relation to figurative elements found in Tscherkassky’s source material. Tscherkassky processes these in a manner that resembles Freud’s description of the compression (Pressung) of dream thoughts that takes place in the work of dreams, whereby “components are turned, crumble, and get pushed together, like drift ice.” 　　源自：https://www.filmfestival.gr/en/section-tiff/movie/1241/14624

For every movie made, dozens of pictures remain missing forever. MISSING PICTURES gives directors a chance to tell the story that would otherwise never be told. Each episode invites one filmmaker to narrate some key points of the movie, why the movie was so important for them at the time and why it was never made. 　　Episode 1: Abel Ferrara, Birds of Prey (USA) 　　In this episode, we meet long-time independent American filmmaker Abel Ferrara. ‘Birds of Prey‘ would have been the political thriller of his dreams…until it all fell apart. The neo-noir, provocative director behind movies like Ms. 45 (1981) and Bad Lieutenant (1992), takes us with him on a journey through the heart of his unfinished story based in the 70’s New York City. 　　Episode 2: Tsai Ming-Liang, The Seven-Story building (Taïwan) 　　Tsai Ming-Liang, the Taiwanese maestro of slow cinema, doesn’t have a real “missing picture”, but what he does have are childhood memories, so vivid that it is impossible for him to film. The filmmaker seizes the medium of virtual reality to go back to the Malaysia of his childhood, when his grandparents took him to see two movies every night. Rather than telling us about an unmade film, Tsai Ming-Liang transforms the exercise into a making-of of his entire film career. 　　Episode 3: Catherine Hardwicke, The Monkey Wrench Gang (USA) 　　After Twilight Chapter 1’s huge box-office hit, American filmmaker Catherine Hardwicke tried to make an adaptation of The Monkey Wrench Gang by Edward Abbey, a cult book of the 70s American counterculture and a precursor of eco-activism. The director revisits this project which excited her so much and which became, because of the reluctance of the Hollywood studios, one of these umpteenth “ghosts of the garage”. 　　Episode 4: Lee Myung-Se, Father is gone (South Korea) 　　Father is gone could have been Lee Myung-se’s debut film, but slipped into a long hiatus instead. After thirty years busy directing unprecedented features in Korea like First Love or Nowhere to Hide, Lee finally brings the lost project back to life through virtual reality. Set against the backdrop of a family of three moving to the outskirts of Seoul in the 1960s – where the director himself grew up – Father Is Gone questions the place of the father in the traditional Korean culture. 　　Episode 5 : Naomi Kawase, Oh Debu (Japan) 　　The most celebrated female filmmaker from Japan revisits a project that she envisioned after her 2015 film Sweet Bean. Oh Debu tells the story of Aya, a 27-year-old, overweight and over romantic woman. Through this story, Naomi Kawase wanted to give herself a challenge trying to make a comedy, far from her naturalist, poetic previous work.