怜是来自未来的少女。五百年后，世界受计算机“时间意志”的统治，人们被分成有用者和无用者两类，分住在不同的区域。怜遭受流行被放逐到过去，同时，她还受着“孤独之刑”，除了在学校里和家里，没人认识她。因为记忆被“时间意志”修改了，所以同学们和奶奶都不对怜的突然出现感到奇怪，然而只有一个人——鸣濑玲人察觉到了异常。 　　玲人出了学校也认识怜。玲人喜欢上了带着神秘气息的怜，而怜也从玲人那里感到了温暖，打算告诉他未来的事情和自己的真实身份。然而随着两个人越来越接近，周遭却怪事频发。 　　不久后，班里来了一个叫修的转校生，他的出现进一步打乱了两人的生活。玲人从修那里得知，自己和怜的未来有很大的关系。不断刺激他们的修其实就是“时间意志”……

暂无剧情简介

暂无剧情简介

Newlyweds, John and Jane Mason, struggle through their first year a marriage, plagued by money problems, illness and a meddlesome live-in mother-in-law. To top it all off, their baby son is dying of pneumonia, and can only be saved by a serum that must be flown from Salt Lake City to New York, when all flights have been grounded by impassable weather conditions. Through all this turmoil, their love never falters, as they were "Made for Each Other." Written by Herman Seifer {[email protected]}

Newlyweds, John and Jane Mason, struggle through their first year a marriage, plagued by money problems, illness and a meddlesome live-in mother-in-law. To top it all off, their baby son is dying of pneumonia, and can only be saved by a serum that must be flown from Salt Lake City to New York, when all flights have been grounded by impassable weather conditions. Through all this turmoil, their love never falters, as they were "Made for Each Other." Written by Herman Seifer {[email protected]}

六年前，寡妇张婉儿与皇帝相互救赎，生下睿儿。六年后，皇帝凯旋归来，带着十里红妆迎娶张婉儿，却因误会错过。同时，张婉儿收留了患有老年痴呆的老太太，却惨遭诬陷，被带到衙门严刑逼供。老太太与张婉儿一家患难与共，拼命保护对方，关键时刻，皇帝赶来，张婉儿才知，她苦苦等待六年的男人竟然是皇帝，而与她患难与共的老太太就是太后！

故事主要讲述70年代下乡的吴存辉为获得返城机会从而与初恋李淑敏将女儿吴娟的死亡设计了一场阴谋诬陷到王菊英身上从而达到离婚目，不料吴娟幸运活了下来，并且成为了总裁，失忆让她忘记了以前的事，但这中间经历的事让它慢慢恢复了记忆，想到了以前吴存辉与李淑梅的所作所为，将他们都绳之以法，与王菊英幸福的生活在了一起。

谢桑宁本是谢氏嫡长女，一睁眼，到了一个陌生的时代， 还成为了南家遗留在外多年的乡下真千金，假妹妹自诩高贵，可琴棋书画样样不通又怎敢？家人嘴上愧疚，可却实则偏心？无妨，宅斗也是他自小手拿把掐的必修课， 任人欺我，我便管教所有人。

谢桑宁本是谢氏嫡长女，一睁眼，到了一个陌生的时代， 还成为了南家遗留在外多年的乡下真千金，假妹妹自诩高贵，可琴棋书画样样不通又怎敢？家人嘴上愧疚，可却实则偏心？无妨，宅斗也是他自小手拿把掐的必修课， 任人欺我，我便管教所有人。

The story appears simple on the surface, but is revealed, especially after multiple viewings, as more multi-layered and textured than Cassavetes at his best. Ostensibly it concerns a 14-year old Catholic girl, Wynne (Agutter) growing up in this post-modern wasteland, who develops a crush on her much older adoptive brother (Marshall)- a crush which perversely deepens and grows into infatuation once she starts to believe he is the local sex killer. This is in itself an idea that makes you sit up and jolt, but as the narrative develops, it continues not necessarily along a linear path but in several confusing and fascinating directions: the family's history, (detailed effectively in chilling flashback during an improvised seance) is a chequered one, and has suffered at least one major relocation and upheaval in the last ten years. 　　At the crux, however, it's the depiction of socialal changes that make I Start Counting so fascinating and elevate its language far beyond the confines of the standard horror film. The major subtext- that teenage girls were maturing more quickly than before, and developing full sexual and romantic appetites (even if in thought rather than deed) but were not possessed of enough discretion to make the right choices- was a step forward for a genre in which its young females had previously been portrayed as bimbo victims (Cover Girl Killer and The Night Caller spring to mind), but not one that all viewers would necessarily agree with. 　　But most striking of all, and possibly the most enduring image which the viewer will take away with them, is of the masterful symbolism with which director Greene invests every shot. Every inch of the Kinch family's world- their house, their walls, their TV, Agutters underwear, bedroom furniture and toys, Sutcliffe's clothes, Marshalls van, the local Catholic church, their town centre, their record shop) - is painted a bright, scintillating white- a white which, by inference, is slowly becoming smudged and corrupted with the dirt of the outside world. White also symbolises, of course, purity and innocence (two qualities Catholic schoolgirls are supposed to hold dear), and it is into this world of innocence that the ever-present red bus (a symbol of violation and penetration), conducted by the lecherous yet similarly juvenile Simon Ward, makes regular journeys. The allegory is further expanded in one scene where Agutter believes she sees the Christ figure in church weeping blood: by the time we acknowledge it, its gone, but the seed has already been planted. Rarely in a genre production has the use of colour and background been so important or effective in creating a uniformity of mood. 　　I Start Counting is as near-perfect an end to a decade as one could hope for, and exactly the kind of film people should be making now- which is, of course, exactly why they never will. A genre essential. 　　by D.R. [email protected]