在极寒末日降临前的二十天，肖丽奇迹般地重生归来，带着前世被男友杨峥与闺蜜张雅联手背叛、活活冻死的惨痛记忆。这一次，她不再是那个任人宰割的无知少女，复仇的烈焰在她心中熊熊燃烧。肖丽争分夺秒地改造深层防空洞，将其打造成固若金汤的末日堡垒，并疯狂囤积海量物资——从食物、饮水到燃料、衣物，甚至连奢华的享受品都一应俱全。

李浅重生回极寒末世前半年，手握父母遗产，先智斗贪婪大伯，凭律师学长陆宇助力夺回财产并将其送入牢狱。随后她斥巨资改造房屋为恒温堡垒，疯狂囤积煤炭、食物、药品等物资，备好逃生雪地车。极寒降临后，她抵御邻居抢劫、武装人员觊觎等多重危机，坚守堡垒一年。最终拒绝初期救援，携核心物资与陆宇汇合，前往地下城，凭借种植技能助力人类生存，直至气温回升，与幸存者一同重返地表重建家园

重生回到极寒末世降临前两天，女主决意报复白眼狼儿子李狗蛋，守护儿媳小花。二人变卖房产、抵押资产，凑钱疯狂囤积保暖、饮食、防身物资，抢占天然庇护所岩洞。凭借智慧与勇气，她们抵御丧尸、恶徒与贪婪村民，看着仇人自食恶果冻成冰雕，最终逆袭成为末世赢家，开启崭新人生。

全民穿越航海世界，开局仅靠一个木筏、一根鱼竿艰难求生！别人为一口淡水、一块干粮拼尽全力，甚至自相残杀，我却觉醒概率百分百系统，直接开启躺赢模式！钓鱼必出珍稀海产，捞物资必获顶级装备，升级木筏速度快到离谱！别人还在浅海挣扎求存，我早已打造出豪华航海巨轮，囤满海量物资，带着专属系统环游大洋！遇风暴？系统自动规避！遭海盗？顶级武器一键秒杀！从一无所有的求生者，逆袭成垄断航海界的“资本大佬”，别人羡慕嫉妒恨，我却在享受沿途绝美海景！全程爽点密集，节奏飞快不拖沓，没有勾心斗角，只有极致的求生逆袭快感！看我如何凭百分百系统，在残酷航海世界躺赢全场，活成所有人都羡慕的模样！

谢曼重生回到 “寒潮” 爆发前四天，前世为给母亲求热水被舅舅一家推倒冻死的经历让她刻骨铭心。她当即拉黑舅舅，连夜借钱囤购米面粮油、防寒装备与药品，驱车返回老家，说服父母躲进冬暖夏凉的天然山洞。她改造山洞、加固防御，种植蔬菜、储备能源，还带着父亲购置军用铲防身。极寒如期而至，气温骤降零下几十度，外界秩序崩塌，人性在饥寒中扭曲，有人为物资掠夺，有人抛弃老弱。谢曼一家在山洞中安稳度日，抵御了多波不速之客，甚至借助狼群暂时避险。期间，她拒绝了吸血鬼般的表弟，见证了人性的善恶，最终在极寒爆发十三个月后，等到国家救援，与竹马简明重逢，奔赴南方基地开启新生。

“狗屎生活”重来一次，他凭打猎逆袭成年代赢家！一觉醒来，男主竟重生回物资匮乏的70年代三水湾村，身上的疼痛、贫瘠的家境，无一不在提醒他这不是梦。面对一眼望到头的穷苦日子，他意外解锁打猎系统，箭无虚发擒猛兽，解锁神级技能赚得盆满钵满！从吃不上饭的穷小子，到凭打猎技能囤粮囤钱、护佑家人的村中传奇，他用实力打破命运枷锁，把别人眼中的烂牌打成王炸。热血打猎场面、暴富逆袭爽点、年代生活烟火气拉满，看重生男主如何在七零年代乘风破浪，把苦日子过成人人羡慕的精彩人生，全程高能无尿点！

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。

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.