自幼在孤儿院长大的叶无道，无端遭到海城叶家构陷，蒙上肇事命案的冤屈，被判处十五年牢狱。踏入监狱的那一刻，武道自强不息系统意外觉醒，遭受外界刺激便可催动功法武技自主修行，实力得以飞速提升。 他被安排进武者专属的一号牢房，机缘之下结识境遇落魄的三大武道强者秦霜、胡绯刃、张狂雪，拜三位强者为师潜心求学。监狱之中连通着一处存在妖兽的裂缝空间，叶无道依托系统加持，再加上自身得天独厚的武道圣体，猎杀妖兽换取减刑积分。从普通凡人一步步修炼抵达凝液境，自身战力也在一次次历练之中持续暴涨。

自小在孤儿院长大的叶无道，无端遭到海城叶家构陷，蒙冤背上肇事命案，被判处十五年牢狱。就在踏入监狱的那一刻，他意外觉醒武道自强不息系统，各类功法武技能够在外界刺激之下自主运转，修为飞速提升。 他被安排进关押武者的一号牢房，有幸结识身陷囹圄的三位武道强者秦霜、胡绯刃、张狂雪，拜三人为师潜心求学。监狱之内存在一处连通妖兽世界的裂缝空间，叶无道依托系统加持，外加自身罕见的武道圣体，不断猎杀妖兽积攒减刑积分。从一介普通人起步，一路突破抵达凝液境，自身战力也在险境之中持续成长。

肥宅李贤在女友劈腿，一穷二白的艰难处境下，忽然得到了一款超级逆袭游戏，开局一千万，还免费送大G，这是不给活路的节奏啊！从此，李贤不是在逆袭就是在逆袭的路上，只是这游戏任务的节奏未免太刺激了！

暂无剧情简介

父母将三套房产尽数过户给大哥，半分家产都没有留给我。面对极度偏心的家人，我选择淡然放手，不争不抢分毫利益。命运却迎来惊天反转，我随手买的彩票意外中得七千万头奖。不必再去争抢家中财产，一夜之间，我便手握巨额奖金，坐拥千万身家，活出属于自己的耀眼人生。

陆昊宇是省城首富陆振邦的儿子，没想到刚被找到，自己爹就破产了，原本想要抱他大腿的校花，听说他爹破产，也选择离开他，恰好此时陆昊宇得到了天庭贷的传承，可以百倍消费返现，见到父亲陆振邦之后得知，有个富婆追求他，但是却被富婆的子女阻拦，于是陆昊宇决心帮父亲翻身，成全父亲的二次婚姻。

狐妖白逍借用灵珠闭关修炼，只差几天便可功德圆满，却被冒失少女夏葵一跤跌在他身上。白逍不仅修炼被打断，还被当萨摩耶送到宠物医院。宝贵灵珠，亦被夏葵拿走，打算摆到她的淘宝小店上当假古董卖。白逍追到小葵家，灵珠竟以小葵做了宿主，他欲杀夏葵而夺珠，却被夏葵做的红烧肉诱惑。而此时，白逍眼前的世界越来越让他惊奇，不仅红烧肉前所未见，还有电灯，微波炉，完全在其经验之外。原来白逍竟是一只唐朝的狐狸精，一觉醒来，人间已变成现代社会。这就是唐朝妖法遇到现代科技，纵使高冷范儿十足的白逍也露惊慌相。小葵看出他的疑惧和好奇，趁机骗得几日活命时间，以向单恋的学长表白。但令这对啼笑皆非冤家怎么也想不到的是，灵珠现世，竟悄然激活了冰冷都市丛林中无数匪夷所思的奇异妖灵，纷纷前来搅扰。为保灵珠不被抢走，白逍被迫当起小葵的贴身保镖。一个冷面唐朝狐少年，一个呆萌贪财少女，被迫生活在一起，经历这大都市中最诡异的阴谋以及最暖心的情感。

《Bravo My Life》讲述了电视台助理导演、准备七年还未能出道的演员，以及在电视台目中无人的绝对掌权者之间的故事。延政勋将在剧中饰演电视剧PD申东宇，郑柔美则将饰演一直未能升职的助理导演河度娜，显祐将在剧中饰演准备7年都未能出道的演员金范宇。

1997, 75 min., colour, BETACAM SP, Stereo The Japan Foundation, North Foundation, Pandora Co., Ltd (Japan) Special thanks to Hiroko Kodjima scenario: A. Sokurov camera: A. Fedorov sound: S. Moshkov editor: L. Semenova “My journey to your sorrowful country cannot finish… even here in Russia. I can't part with feelings which have captured me… as if my soul had been in search of Beauty and Kindness. If not — what for have I deserved this gift, this meeting… I have arrived in the twilight. The noise of the wind and my tiredness didn't let me fall asleep. I was lying on the floor, there was a small lamp at my head, the bedding had been thrown over the mat. I don't know why, but I began to think about the war, and the scenes of unknown life appeared before me from the past… or, perhaps, from the future; Somebody’s children… somebody's mothers… The summer was warm… Then the morning came, windy, cold and sunny… I examined the house cautiously. It was empty… Then, I remember, I turned back, having heard a creak. It seemed she had not yet noticed me… I decided to come nearer. I can remember well enough, how everything became interesting: walls, utensils, wind, light, sounds — all her life. We agreed that she would let me stay near her all the time All the hours and minutes that I could spend in her old house. I sat near her with her permission. And it was really necessary: I could contem­plate her to my heart's content.” Alexander Sokurov (from the author's text to the film) A myth about lost harmony, which is always with us, though we often cannot feel it, is further developed in this film by Alexander Sokurov. The material used here is concrete and, at first sight, quite fit for TV. The whole work is unhurried and detailed report from an old solitary house, lost in the mountains, in the village of Aska, prefecture Nara, Japan, where an old woman, whose name is Umeno Matshueshi, lives alone. But filmmaker's creative task is quite opposed to the TV information stream. It is not only because this subject, this person couldn't be of any interest for any TV crew in any country (and least of all, perhaps, in modern Japan). Sokurov's camera doesn't watch this character, doesn’t ask any questions, doesn’t surprise her, but extracts uninterrupted poetical image out of the trivial details of this physical reality, out of this extinct life and daily routine. The image is epic and lyrical at the same time. Refined simplicity of Japanese landscape, interior, a series of portraits are not a representation of “couleur local,” but only the sign of ideal technique of the ideal description, allowing to enter this life. The woman, who remains silent throughout the whole film, cooking and eating, kindling the fire and sewing, giving alms and combing her hair before us, recites in the final poem as a prayer: artless and sorrowful tanku about loneliness, about the constancy of losses and gainings. Sokurov shoots this unexpected stroke in his personage's portrait as a lyrical coda of his work.