我是一名年轻的公交司机，本想安稳度日，却被车队队长和老同事们以高额补助为诱饵，半推半就地接手了一条深夜开往偏远造纸厂的新线路。同事们都以家庭、孩子为由推脱，唯独单身的我成了“最佳”人选。正当我为每月多挣900块而自我安慰时，一位好心同事老郑却悄悄向我揭开了一个尘封八年的惊人秘密：这条所谓的“新”线路并非首次开通，而之前负责这条线的整整三任司机，全都离奇死亡。

合租室友周雪突然失联，杜小雨、陈明、张帅发现其快递箱内有带血迹的美工刀，随后被返回的周雪绑住。周雪自曝是六年前校园霸凌受害者周婷的妹妹，设局只为追查姐姐坠楼身亡的真相。在证据与质问下，三人陆续坦白当年霸凌、推人坠楼且见死不救的罪行。最终周雪报警，张帅百般狡辩仍难逃制裁，三人依法被追责，周雪为姐姐讨回公道

东线德国国防军的视角下的第二次世界大战

东线德国国防军的视角下的第二次世界大战

Due to some common interests between German and Russian aristocracy ( the Russians even had aristocrats in their past not to mention they had an Empress called Catherine the Great, as great as this German count's heiresses… ), it is not strange that this Teutonic count has understood and even enjoyed Herr S. M. Eisenstein's "Staroye I Novoye". 　　It is not very usual that for the aristocracy to enjoy Bolshevist films full of proletarian demands that put private property at risk or as it happens in this case, a film about the Communist Party's policy on the subject of the collectivization of the Soviet agriculture. Normally this would be perfect gibberish for this German count, but thanks to Herr Eisenstein 's greatness and directorial talent, the hardships of the heroine of the film, Dame Marfa ( Dame Marfa Lapkina ) breached even the thick aristocratic Schloss walls. 　　And that's one of the first remarkable aspects of this oeuvre; in spite of the political subject of the film, the powerful images and lyricism ( astonishing and beautiful shot compositions ), especially during the first part of the movie, preserve the artistic merits entirely while serving a propaganda purpose. The second remarkable aspect of the film is the dichotomy between the old and new, the fight to improve the lot of Dame Marfa and her countrymen. There are many discussions because it is not easy even in Russia to change ancient and conservative customs. There are superb metaphors and social criticism ( illiteracy, bureaucracy, religiosity ) which perfectly fit the film, and last but not least, "Staroye I Novoye", is a kind of archaic documentary about ancient customs established deeply in old Russia, those ones that our heroine must fight against. And there is also a lot about agriculture ( very enlightening for this German count), especially about harvesting and how to fatten Russian cows or pigs ( literally, no pun here… ). 　　Herr Eisenstein had to bear during the last era of his film career, unbelievable censorship and mutilation of his work, as happens with "Staroye I Novoye". The film was reedited and Eisenstein accused of sympathizing with Trostky's policies but fortunately the film was restored and showed by the German-frenchified t.v. channel "ARTE", natürlich!, including an evocative music score by Herr Taras Bujewski, that fits superbly Herr Eisenstein primal artistic interests. 　　And now, if you'll allow me, I must temporarily take my leave because this German Count must buy a tractor for one of his Teutonic heiress.

Due to some common interests between German and Russian aristocracy ( the Russians even had aristocrats in their past not to mention they had an Empress called Catherine the Great, as great as this German count's heiresses… ), it is not strange that this Teutonic count has understood and even enjoyed Herr S. M. Eisenstein's "Staroye I Novoye". 　　It is not very usual that for the aristocracy to enjoy Bolshevist films full of proletarian demands that put private property at risk or as it happens in this case, a film about the Communist Party's policy on the subject of the collectivization of the Soviet agriculture. Normally this would be perfect gibberish for this German count, but thanks to Herr Eisenstein 's greatness and directorial talent, the hardships of the heroine of the film, Dame Marfa ( Dame Marfa Lapkina ) breached even the thick aristocratic Schloss walls. 　　And that's one of the first remarkable aspects of this oeuvre; in spite of the political subject of the film, the powerful images and lyricism ( astonishing and beautiful shot compositions ), especially during the first part of the movie, preserve the artistic merits entirely while serving a propaganda purpose. The second remarkable aspect of the film is the dichotomy between the old and new, the fight to improve the lot of Dame Marfa and her countrymen. There are many discussions because it is not easy even in Russia to change ancient and conservative customs. There are superb metaphors and social criticism ( illiteracy, bureaucracy, religiosity ) which perfectly fit the film, and last but not least, "Staroye I Novoye", is a kind of archaic documentary about ancient customs established deeply in old Russia, those ones that our heroine must fight against. And there is also a lot about agriculture ( very enlightening for this German count), especially about harvesting and how to fatten Russian cows or pigs ( literally, no pun here… ). 　　Herr Eisenstein had to bear during the last era of his film career, unbelievable censorship and mutilation of his work, as happens with "Staroye I Novoye". The film was reedited and Eisenstein accused of sympathizing with Trostky's policies but fortunately the film was restored and showed by the German-frenchified t.v. channel "ARTE", natürlich!, including an evocative music score by Herr Taras Bujewski, that fits superbly Herr Eisenstein primal artistic interests. 　　And now, if you'll allow me, I must temporarily take my leave because this German Count must buy a tractor for one of his Teutonic heiress.

该剧讲述妈妈和女儿一起追踪婚礼当天逃跑的新郎而展开的追击喜剧故事。

在遗世独立、满是热气与尘埃的农场上，一个欲望与情感找不到宣泄出口的女子，将她情感的开口朝向她日夜相处的父亲，而肉体欲望则是在黑人工头身上找到慰藉。在她生存空间唯一出现的两个男人，最后都离她而去，只剩下她与自己的幻想跟对话。　　玛格妲是一个坚守贞操的年轻未婚女子，日复一日，她看著父亲、与父亲相处，父亲成了她所认识的唯一异性，禁忌的情感在玛格妲灵魂深处酝酿。就在父亲引诱黑人工头的漂亮老婆后，失去理智的玛格妲愤而弑父，独自埋葬她至爱的父亲。目睹一切经过的黑人工头以此威胁继承农场的她，紧张的主仆对立逼使他失去控制而强暴了玛格妲。最后，黑人工头逃走，独自一人的玛格妲却受困于她对男人萦绕不去的幻想，她只能跟自己交谈……