今年的SP剧将讲述24小时电视第一代综合主持萩本和妻子澄子的夫妻故事。作为喜剧演员，萩本从未公开谈论过自己的私生活，此次将揭开他不为人知的一面。反映出对萩本来说，澄子是怎样的存在，澄子是怎样看待萩本的。

钦天监罪臣之子根据父亲留下的笔记线索，携手擅长医术的九公主，揭开巫蛊作祟、雷公显灵、天崩地裂的奇案秘术，发现幕后真相竟指向神秘天书“双鱼祸国”的预言。

Minimalist in resources and filmed from the unusual vantage point of a second-floor apartment window, Malintzin 17 portrays two parallel expressions of parental care. For seven days and seven nights filmmaker Eugenio Polgovsky and his five-year-old daughter, Milena, contemplate a nurturing dove nesting her chick on a hazardous entanglement of electric cables situated right outside their balcony. The dove endures the cold and torrential rain, while Milena makes puzzled inquiries to her father about the bird’s location, its stillness, the meaning – and perils – of filming it, its true nature (is it a robot?), and potential ways to assist it (does she need food? Will the chick learn to fly?). Wielding a handheld camera from this elevated point of view, which parallels the bird’s, the film constructs a microscopic yet powerful environmental critique of nature’s entrapment within the aggressive infrastructures of modernity.

Minimalist in resources and filmed from the unusual vantage point of a second-floor apartment window, Malintzin 17 portrays two parallel expressions of parental care. For seven days and seven nights filmmaker Eugenio Polgovsky and his five-year-old daughter, Milena, contemplate a nurturing dove nesting her chick on a hazardous entanglement of electric cables situated right outside their balcony. The dove endures the cold and torrential rain, while Milena makes puzzled inquiries to her father about the bird’s location, its stillness, the meaning – and perils – of filming it, its true nature (is it a robot?), and potential ways to assist it (does she need food? Will the chick learn to fly?). Wielding a handheld camera from this elevated point of view, which parallels the bird’s, the film constructs a microscopic yet powerful environmental critique of nature’s entrapment within the aggressive infrastructures of modernity.

怪兽、异闻、秘境奇物、天外来客，超越普通人理解的事物，自古以来便在大自然的舞台与人类共存。钦天监就是一个守护人类，不被外来异种侵害的神秘组织。以巡天按察使童盼秋为首的热血小分队，侦破迷雾案件，揪出背后真凶守护人间安定。

A dead man is found in the basement of a theater, and a detective comes to investigate. He learn that the deceased had been seen near the theater asking for Fabian, the ventriloquist. As the detective questions Fabian in his dressing room, a voice comes from the box in which Fabian's female dummy is stored. When the dummy, Riabouchinska, continues to talk, the detective is annoyed, thinking that the ventriloquist is trying to be funny. But the detective humors him and 'talks' to the dummy, and he soon learns about a web of tensions involving Fabian, his wife, and his manager. Much of the tension concerns the dummy - and there is also a connection with the dead man.

奇石陨，异客现，危机暗藏，钦天监出击，谜案必破！钦天监最强女按察使和她的小伙伴们一起智破奇案，守护百姓平安。

Jane Fonda narrates the story of the years between the ascent of talkies until late in 1934, when the Hays Office cracked down on what it perceived as immorality in Hollywood movies. The emphasis is on how women were portrayed, and focuses on how they were much more liberated and equal (or superior) to men, until 1935 when they once again took subservient roles to their male co-stars.

Originally made as a silent film, Odna was released in 1931 as a 'sound' film – which differs from a talkie because although there are sound effects in the film, there is no synchronised dialogue and it was intended to be performed with an orchestral accompaniment using a score by Shostakovich. After it fell into political disfavour the film was archived in the Lenfilm complex, which was destroyed during the siege of Leningrad. Fortunately, although much of the score was lost, all but one 8-minute reel survived, as did the full score for the missing reel. Mark Fitz-Gerald and colleagues, with the encouragement of Shostakovich's widow, completed the restoration of the original score in 2003. It was first performed in the Netherlands and has also been performed in France, Switzerland and Germany. I attended the London Premiere on 10th February 2006. 　　Normally, a review relates to an experience that can be shared subsequently by any cinema-goer, or watcher of DVDs. A live concert performance (the BBC Symphony Orchesttra conducted by Mark Fitz-Gerald) is different. The entire orchestral performance and live sound effects such as the throat singer, Theramin and Harmonium will not be constant factors - which is why performances of great musical works are reviewed repeatedly. The performance I experienced may be different from what you experience. For me, what might have been a rather sentimental ending was transformed by the 'buzz' of the live musical climax (the entire restored score was performed, with titles explaining the action of the missing reel). 　　A notable feature of the film was the superb natural performance of the 'actors' (including a real shaman performing a real ritual) with none of the exaggerated eye makeup of 'Napoleon' and the German expressionists. Such a live performance converted a good propaganda film into something more sublime and an experience that should not be missed if the opportunity is repeated.