现代社畜江辰穿越高武世界，成为拥有SSS级武魂的绝世天才，却在开局惨遭前女友与王虎联手背叛，武魂被夺，沦为废柴！ 绝望之际，觉醒神级挨打系统！只要挨打就能变强！ 在贱萌狗子系统的辅助下，从地下拳场到学院大比，他一路逆袭，夺回尊严，更引动帝都风云！ 当古老世家的阴谋与母亲的失踪之谜浮出水面，一场席卷天下的风暴，正由他掀起！

苏玛丽意外穿进古早虐恋文，成为被男主冷傲寒当作替身、肆意虐害的炮灰女主 —— 原主因痴恋甘当工具，最终惨死。携现代清醒灵魂的苏玛丽，看清冷傲寒的冷酷与剧情荒谬，决心改写必死命运。她果断撕碎替身契约，拒绝任人摆布；凭借剧情预知避开致命陷阱，设局让冷傲寒的仇人自食恶果。

王阳穿越修真界，被系统追着求绑定，只想躺平的他直接丑拒三连，被pua的系统不断进化，最后进化成了“独断万古躺平无敌系统”，只要王阳答应绑定，只要躺平，就能变强，无敌功法，漂亮妹子，直接赠送！躺平，也能成大帝！

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.

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.

影片讲述的是一个发生在30年代的故事，那时爵士乐正风靡全美；吉普赛人德詹哥雷恩哈特是爵士乐坛的传奇人物，他当时被冠以“世界上最出色的爵士乐与吉它…

这个男人意外穿越到斗罗，拜了玉小刚为师，却给玉小刚洗了三年衣服，先天六级魂魄在三年时间里只提升了四级，而且还被玉小刚为了自己的名声狠狠抛弃了，还对外宣称我已经死在了魂兽的口下，这一次他觉醒了反派系统任务，不再任人摆布。

玄学大师林诺诺穿成豪门真千金。大哥高冷总裁、二哥娱乐顶流、三哥校霸，却都宠假千金。原主争宠惨死，林诺诺本想躺平，可心声暴露，让全家开启了后悔不迭的 “火葬场” 模式 。

男子因特殊原因穿越成书里角色，开局处境尴尬，遭身边人冷眼嫌弃。危急时刻，反派系统成功绑定，他获含强化丹的初始礼包。系统提示其任务为对抗气运之子，新手任务是通过聊天诋毁特定人物以动摇他人看法，完成可获反派点、丹药等奖励，反派点达标还将解锁商店与信息探测功能。

外星生物入侵地球后，寄生在人体内，控制心智，抹灭人性。寄生在梅兰妮(西尔莎·罗南 饰演)身上的入侵者，虽然深知要控制人类心智，会面临人类感情丰沛、过往的记忆鲜明而难以驾驭，但仍旧毅然接受挑战。　　只是入侵者万万没想到，梅兰妮抗拒让出她的心智，与入侵者产生灵魂重叠。结果入侵者思绪里满是梅兰妮所爱的人的身影，那是一个仍未被外星生物入侵的男人。渐渐地，入侵者也爱上了这个男人。同一个躯壳中的两个灵魂，不甘愿地合作，一起找寻共同所爱的人。