7日7频道栏目的基本构架是以故事化的选题为主导，辅以生活服务类资讯信息。2012年停播。

Lord of the Frames: Kurt Kren 　　by Peter Tscherkassky 　　Translation: Elisabeth Frank-Großebner 　　reprinted from exhibition catalog, Kurt Kren at Wiener Secession, 1996 　　In 1964, "Wien Film" refused to print 6/64 Mama und Papa. When Kurt Kren handed in the original, the film grader said with an undertone of sympathy that, given the many cuts, one would not be able to make out anything, anyway. His worries were groundless: when Kren came to pick up the print, some people with flushed faces left the projection room, telling him to get out and never to come back again. A few months later, a similar scene took place at "Listo", where 9/64 O Tannenbaum was not accepted. Kren ultimately found a place that took his films, based on actions by Otto Muhl and Gunter Brus: a house on Peter Kaiser Gasse in Jedlersdorf, a neighborhood in the East of Vienna, on the other side of the river Danube. There, in the 21st district, on the most remote outskirts of town, films were developed and printed in self-made contraptions reminiscent of washing-machine drums. The man who ran the business single-handedly intimated that he was used to explicit images owing to customers from the blue movie scene. The facts that the credits in a few Kren works from those days are slightly out of place and that the name "Kren" next to the copyright sign goes beyond the edge of the frame can be explained in this context. On request, credits were in-house productions, but they were made with a camera that had no view finder, for which reason slipped boards were none too unusual. There were no objections to the films' content, formal and creative issues played a secondary role. 　　Be that as it may - the "© Kren" jutting out over the frame can easily be understood as a metaphor of the avant-garde and a harbinger of cinema outside the screen - Expanded Cinema. It is precisely during the "Jedlersdorf period" in his oeuvre that Kurt Kren demonstrates some of its best knacks to modern cinematography. 　　(Source: http://www.hi-beam.net/mkr/kk/kk-bio.... 　　http://www.ubu.com/film/kren.html

Lord of the Frames: Kurt Kren 　　by Peter Tscherkassky 　　Translation: Elisabeth Frank-Großebner 　　reprinted from exhibition catalog, Kurt Kren at Wiener Secession, 1996 　　In 1964, "Wien Film" refused to print 6/64 Mama und Papa. When Kurt Kren handed in the original, the film grader said with an undertone of sympathy that, given the many cuts, one would not be able to make out anything, anyway. His worries were groundless: when Kren came to pick up the print, some people with flushed faces left the projection room, telling him to get out and never to come back again. A few months later, a similar scene took place at "Listo", where 9/64 O Tannenbaum was not accepted. Kren ultimately found a place that took his films, based on actions by Otto Muhl and Gunter Brus: a house on Peter Kaiser Gasse in Jedlersdorf, a neighborhood in the East of Vienna, on the other side of the river Danube. There, in the 21st district, on the most remote outskirts of town, films were developed and printed in self-made contraptions reminiscent of washing-machine drums. The man who ran the business single-handedly intimated that he was used to explicit images owing to customers from the blue movie scene. The facts that the credits in a few Kren works from those days are slightly out of place and that the name "Kren" next to the copyright sign goes beyond the edge of the frame can be explained in this context. On request, credits were in-house productions, but they were made with a camera that had no view finder, for which reason slipped boards were none too unusual. There were no objections to the films' content, formal and creative issues played a secondary role. 　　Be that as it may - the "© Kren" jutting out over the frame can easily be understood as a metaphor of the avant-garde and a harbinger of cinema outside the screen - Expanded Cinema. It is precisely during the "Jedlersdorf period" in his oeuvre that Kurt Kren demonstrates some of its best knacks to modern cinematography. 　　(Source: http://www.hi-beam.net/mkr/kk/kk-bio.... 　　http://www.ubu.com/film/kren.html

Rajiv and Varsha, a couple with a five-year-old son, Rahul, moves to a new flat where Varsha faces paranormal activities. Can Varsha fight against supernatural forces to save their dream house, or she decides to leave her house to save her family?

很久以前，在一片叫缅甸的土地上，有一族王室血脉统治了一千多年世界上最富裕的地区之一，他们生活富足奢侈。1885年，在末代国王锡袍王统治时，这一切都结束了。本片是缅甸的末代国王在130年后，通过皇室血统的后裔告诉我们的故事。本片通过对在位时的王室生活、退位后的被流放，锡袍王四位公主及王室后裔颠沛流离、令人唏嘘的现状的讲述，展现了当时的大时代背景，留下令人回味无穷的思考。

电影讲述与家人一起前往菲律宾旅行的强力班刑警偶然要去找逃亡到菲律宾的朋友过程中发生的故事

电影讲述与家人一起前往菲律宾旅行的强力班刑警偶然要去找逃亡到菲律宾的朋友过程中发生的故事

杜夫·龙格尔将主演动作剧集《国际特工》(The International，暂译)，西尔维斯特·史泰龙担任执行制片人，肯·桑泽尔([替身杀手])操刀剧本。故事围绕龙格尔饰演的联合国安全和安保部的秘密特工召开。据悉，Fox、CBS、NBC、Netflix与苹果在本周已对该剧播放权进行了竞标。

他说这是艺术，她说诅咒灵验，太极图相逢十字架，荒诞刺破真实。

The leading gangsters of the world have chosen a new boss, Devraj, who is fronting a big company. Reporter Payal and Johnny are trying to get an interview with Devraj, but that fails, but soon Payal and Devraj fall in love. Payal's brother, who has saved Devraj from assassination by Glushan's henchmen is a police informer, working for his friend Inspector Amit, who's also in love with Payal. Amit tells Payal, that Devraj is a gangster, but she doesn't care. Devraj gets killed, and Amit, with the help of beaten up Payal is able to convict Devraj of the murder, who is sentenced to death. But a wounded gangster tells a different story, and Devraj is set free. Outraged about Payal's betrayal he seeks revenge, but her story gives the whole affair a completely different touch, but the puzzle still doesn't fit completely, and soon Payal and Devraj are in bigger trouble than before when they find out who really killed her brother...