婚禮即將開始，新娘休息室內卻躁動著不安氛圍。梳化尷尬互動、荒謬家庭情境、親友造訪的壓力層層堆疊，一切看似準備就緒的婚禮，新娘卻在此刻消失無蹤……。手持攝影，還原婚禮後台現場，透過鏡頭逼近新人內心不斷升溫的紊亂，也冷靜凝視當代對幸福的常態想像。

喬曾經是一個充滿想像力的快樂女孩，但長大後，她卻發現自己再也快樂不起來了。從小陪伴著喬的影子發現了她的悲傷，希望能夠幫助喬重新快樂起來，但卻無能為力。直到你們在追隨蝴蝶時，不小心從喬的日記闖入了她的內心世界，事情才有所改變。透過小精靈的幫忙，你們與喬的影子合作破關成長，用自己的影子幫助喬面對內心的恐懼，戰勝住裡面的怪獸。 　　在《快樂的陰影》中，觀眾將會陪伴喬進行一場互動的旅程，深刻體會她的成長困惑，並找回內心深處的那份純真快樂。

Director / Artists: 黃子華 WONG, DAYO Number of Discs: 1 Audio Format: Stereo Video Format: NTSC DVD Region: 0 Languages: Cantonese Subtitles: none Rating: IIB Running Time: 158 minutes

有時候，這個世界上你最想觸碰到的人，卻無可奈何地無法聯繫；但是我相信她在這個世界與靈界的交界處等我，我只能以這種間接的方式，在無法觸碰的同時，試著觸碰。藉著這部短片獻給這世界上我最疼愛的人，我的姥姥。

有時候，這個世界上你最想觸碰到的人，卻無可奈何地無法聯繫；但是我相信她在這個世界與靈界的交界處等我，我只能以這種間接的方式，在無法觸碰的同時，試著觸碰。藉著這部短片獻給這世界上我最疼愛的人，我的姥姥。

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

律师亚历山大有机会得到他梦寐以求的工作。然而，有一天，他的人生彻底颠覆——他儿时向圣尼古拉斯许下的愿望，那些他早已遗忘的愿望，突然开始一一实现。

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?