顾念安即将临盆，但在临产那一刻知道自己之所以能生这个孩子，不过是傅司臣为了陆清清牺牲了顾念安。她自以为幸福美满的婚姻，不过是场彻头彻尾的骗局。顾念安生下了死胎，傅司臣以为顾念安是害死自己弟弟司恩落水，害得清清落得寒症，但其实是陆清清的陷害。顾念安得知五年前傅司臣的接近，都是为了报复顾念安。顾念安想要跟傅司臣离婚，但是因为她弟弟傅杰在傅司臣的手中作罢。丧失希望的顾念安想要跳河，被沈非白救，但后来赶到的傅司臣看到这一幕反而激起了对顾念安的占有欲。顾念安被陆清...

賽巴斯，三十歲單身漢，有一隻八歲的愛犬相伴。只要他不在，狗狗就會頻頻哀鳴，引起鄰居抱怨，他只好帶著狗去上班，卻因此被公司開除，只能靠打零工度日，過著流浪犬般的人生。當神祕隕石撞擊地球，空氣被污染，離地一百二十公分以上的人，得要靠呼吸器才能行走。幸好賽巴斯早就超前部署，「魯」到沒在怕！他的魯蛇人生會因此而有所轉機嗎？ 　　阿根廷導演安娜卡茲繼2007年成名作品《分手假期》後，再次以精準的影像語言、絕妙的台詞設計，施展冷調黑色幽默，結合末日感軟科幻，在黑白的荒唐人生中提煉一絲安慰。長達三年的拍攝期，正好遇上全球疫情，導演靈機一動，巧妙將大環境變動嵌入這則描繪青年無力感的哀歌，意外讓本片成為一則饒富深意的末世寓言。

賽巴斯，三十歲單身漢，有一隻八歲的愛犬相伴。只要他不在，狗狗就會頻頻哀鳴，引起鄰居抱怨，他只好帶著狗去上班，卻因此被公司開除，只能靠打零工度日，過著流浪犬般的人生。當神祕隕石撞擊地球，空氣被污染，離地一百二十公分以上的人，得要靠呼吸器才能行走。幸好賽巴斯早就超前部署，「魯」到沒在怕！他的魯蛇人生會因此而有所轉機嗎？ 　　阿根廷導演安娜卡茲繼2007年成名作品《分手假期》後，再次以精準的影像語言、絕妙的台詞設計，施展冷調黑色幽默，結合末日感軟科幻，在黑白的荒唐人生中提煉一絲安慰。長達三年的拍攝期，正好遇上全球疫情，導演靈機一動，巧妙將大環境變動嵌入這則描繪青年無力感的哀歌，意外讓本片成為一則饒富深意的末世寓言。

陆帅府与温家联姻，没想到温家小姐温言婚前和李府公子李聿青私奔，成婚当日，陆鸣铮抬着棺材去接亲，迎回了年少时心心念念要娶的姑娘，可分别多年，他以为心上人早已背弃他，恨意的种子瞬间蹿升长大。他双目通红，将她锁进那口棺材里。“言言，既然你的心不属于本帅，那你的人归本帅，陪本帅一起死吧！”

爱妃别跑，快帮朕亡国！

A Whodunit from the great! The investigation into the suicide of a young woman found dead at the bottom of a cliff uncovers many lovers of both sexes, including her Brother's sister and her psychiatrist, a weird tale of absolute power and love.

Middle class student Bob Letellier enters a new world when he meets Alain, a free-thinking rebel who, along with his group of young Parisians, has opted for a life of instant gratification instead of work and commitment. At a party, Bob meets a young woman, Mic, who appears to be just as carefree and cynical as Alain. Mic's only dream is to own a luxury car, and with Bob's help, she manages to find the money to but it. Mic's friend Clo discovers she is pregnant and, not knowing who the father is, she asks Bob to marry her. When they next meet at a party, Bob and Mic deny that they have any feelings for one another - a declaration that soon leads to tragedy... 　　 　　Marcel Carné is widely regarded as one of the standard bearers of French quality cinema of the 1930s and 1940s, responsible for such masterpieces as Quai des brumes (1938) and Les Enfants du Paradis (1945). How ironic then that, in 1958, towards the end of his film-making career, he should make a film which dared to portray the attitudes and behaviour of the 1950s youth, in a way that effectively captures the mood and sentiment of the time. 　　 　　Les Tricheurs was a hugely controversial film, not least because of its blatant depiction of adolescent free-love, and was even banned in some regions of France. It also received some intensely unfavourable reviews, most notably from the young hotheads on the Cahiers du cinéma such as François Truffaut who cited this film as a prime example of the decline of French cinema into mediocrity. In spite of all this negative press, the film proved to be an astonishing commercial success, attracting five million cinema-goers, and was awarded the Grand Prix du Cinéma français in 1958. 　　 　　Whilst Les Tricheurs is not as flawless as Carné's earlier masterpieces, it is nonetheless a significant work, having the power to both shock and move its audience, whilst having great entertainment value. It evokes the mood of its time in a way that few French films of this period did, depicting young people as pleasure-seeking rebels, rejecting the austerity and discipline of the previous generation whilst pursuing a life without cares, responsibilities or love. Similarities with James Dean's films of the 1950s (most notably Rebel without a Cause) are apparent, although Carné's treatment of young people is far more abstract - in his film they merely symbolise a world that has lost its way, more or less victims of post-war prosperity. Although the young people in Les Tricheurs lack the authenticity to be totally credible, the film does make an important, and indeed quite disturbing point, about where the permissive society may be heading. 　　 　　Much of the pleasure of the film is in the performances from its four lead actors, Jacques Charrier, Pascale Petit, Laurent Terzieff and Andréa Parisy, although only Terzieff is really convincing in his role. Marcel Carné originally considered Alain Delon and Jean-Paul Belmondo for the parts of Bob and Alain respectively, before opting for Charrier and Terzieff. As a consolation, Carné offered Belmondo a smaller part in the film - alas too small for the actor to be noticed by the public. Belmondo's breakthrough had to wait until the following year when he starred in Jean-Luc Godard's revolutionary A bout de souffle, a film which offers a very different perspective of the youth generation.

妙龄女子伊佐子（米仓凉子 饰）嫁给了比她大31岁的资本家泽田信弘（桥爪功 饰），由此一步登天，过上了阔太太的生活。但是日常里她空有其表，钱的用途和人身自由皆被丈夫盯得死死。即便如此，伊佐子在外仍有一个秘密情人石井宽二（要润 饰）。直到某天，情人给她带来了麻烦。石井的前女友与之争执后死在他的公寓，石井以不伦恋情相要挟，拜托伊佐子帮他寻找律师。经曾经的恩客盐月芳彦（宅麻伸 饰）介绍，伊佐子找到了律师佐伯义男（高岛政伸 饰）。而在盐月面前，这个心怀叵测的女人也透露了她暗地里试图谋杀泽田、侵吞巨额遗产的阴谋。蛇蝎女子露出獠牙，朝着邪恶的目标前行…… 　　本片根据松本清张的同名原作改编。

妙龄女子伊佐子（米仓凉子 饰）嫁给了比她大31岁的资本家泽田信弘（桥爪功 饰），由此一步登天，过上了阔太太的生活。但是日常里她空有其表，钱的用途和人身自由皆被丈夫盯得死死。即便如此，伊佐子在外仍有一个秘密情人石井宽二（要润 饰）。直到某天，情人给她带来了麻烦。石井的前女友与之争执后死在他的公寓，石井以不伦恋情相要挟，拜托伊佐子帮他寻找律师。经曾经的恩客盐月芳彦（宅麻伸 饰）介绍，伊佐子找到了律师佐伯义男（高岛政伸 饰）。而在盐月面前，这个心怀叵测的女人也透露了她暗地里试图谋杀泽田、侵吞巨额遗产的阴谋。蛇蝎女子露出獠牙，朝着邪恶的目标前行…… 　　本片根据松本清张的同名原作改编。

互联网大厂卷王姜娴穿越了，在智商堪比二哈的系统陪伴下，开启攻略所有上级的另类宫斗之路，成为摆烂皇后的左膀右臂、傲娇贵妃的铁杆闺蜜，太后都庆幸自己出生得早，皇帝只是她升职加薪的工具人，没有感情， 全是技巧。