在快穿世界，绑定了败家系统，不花钱就要狗带，任务花钱虐渣打脸就算了，还要保证小奶狗好人卡的身心健康，初筝的内心是崩溃拒绝的。没听说过……但没办法，系统太强大。初筝只能身体力行的告诉诸位，想当位面大佬，从花钱开始！

在快穿世界，绑定了败家系统，不花钱就要狗带，任务花钱虐渣打脸就算了，还要保证小奶狗好人卡的身心健康，初筝的内心是崩溃拒绝的。没听说过……但没办法，系统太强大。初筝只能身体力行的告诉诸位，想当位面大佬，从花钱开始！

沈昭身为将军府主母，却饱受婆婆刁难、绿茶挑衅，她隐忍度日只为借将军权势为蒙冤流放的家族昭雪。一夕之间，她与将军楚慕意外互换身体。从此，局面彻底颠覆——楚慕在内宅亲身体会她的艰辛，开始为她撑腰立威；她则借用楚慕的将军身份，在朝野上下追查父亲冤案的线索。二人在错位的身份中渐生情愫，沈昭却在这时发现：自己苦苦追寻的真相，竟与枕边人紧密相连……

在快穿世界，绑定了败家系统，不花钱就要狗带，任务花钱虐渣打脸就算了，还要保证小奶狗好人卡的身心健康，初筝的内心是崩溃拒绝的。没听说过……但没办法，系统太强大。初筝只能身体力行的告诉诸位，想当位面大佬，从花钱开始！

在快穿世界，绑定了败家系统，任务花钱虐渣打脸就算了，还要保证小奶狗好人卡的身心健康，初筝的内心是崩溃拒绝的。但没办法，系统太强大。初筝只能身体力行的告诉诸位，想当大佬要从花钱开始！

柳晚言开局就是地狱模式:她成了暴君渊泽.上辈子的仇人。而重生归来的他，只想弄死她。她拼命苟命,他却处处杀机。直到他将她推向刺客的剑锋，她终于死心。可当她转身欲走，他却红着眼将她拥入怀中:“不准走...朕的命换，也不行吗?

戏剧院的悲惨三级喜剧演员阿奇被瘟疫蚕食，然而他却幸存下来，变得目中无人和唯利是图，他许久，开国际玩笑，说冷笑话，大声谈论性事，对政治豪放厥词。阿奇还引诱自己的父亲提前退休后拿他的退休金恶意投资，最终还是全军覆没，这样像狗屎一样的人生，他在用自己的方式演绎一个社会中的普通人，然而把他放大来看，其实他只是社会中的一名艺人而已。

苏可心为了调查内鬼偷偷潜入自家公司，一同入职的实习生付婧竟然假冒总裁夫人，随着苏可心身份的揭露，内鬼也渐渐的浮现出来，苏可心惊奇的发现，这件事的背后居然是自己的亲生父亲苏国立指示的，在亲情与爱情的抉择中，苏可心该如何选择？而总裁夫人的身份，究竟是苏可心的救赎还是枷锁？

Caetano Gotardo, whose contribution to the omnibus film Neverquiet (Film of Wonders) was screened in 2011 at IFFR, stays close to home in his second feature. He writes, directs, edits and also plays the leading role. The story is set in the Brazilian artists’ milieu. 　　Joao has extensive conversations with friends, strangers and himself. For instance with his best friend Irene, who cannot let go of memories of her ex; and the boy he meets in the metro, with whom he wants to have sex. Beside life and love, the creative process is a recurring theme in the conversations, in the best traditions of filmmakers like Éric Rohmer or Hong Sang-soo. Piece by piece, the encounters, conversations and monologues have a great influence on Joao, who literally wrestles with his attitude to life. A puzzle unfolds within which time, narrative, character and perspective are all jumbled up in an intriguing way.

Adrift in a lush, nocturnal urban landscape, Nick is a post-modern urban hero asserting his anarchistic agenda on the endless maze of virgin exterior walls that comprise downtown Seattle and Portland. For writer/director Bolton's lonely "tagger" protagonist, the vast wall surfaces of deserted alleys and trainyards are at once a daunting symbol of capitalist oppression and a texturally rich, seamless tableau ripe for exploitation to amplify his artistic dialectic of anger and rebellion. His own virtually anonymous existence seemingly only secondary to the painted surfaces and "rupture the system" manifesto which more poignantly evidence his presence, Nick's prodigious solo graffiti output is interrupted by friendship with another young tagger. Their communication begins as less verbal than a kind of shared graphic tour de force; their enormous collaborative graffiti murals appear to emerge as the unmistakable offspring of their kindred spirit. But eventually their assumptions about one another are disproved as political, emotional and ethical issues arise which cause their relationship to dissolve into the background of urban detritus, and the artists themselves emerge only further atomized and alienated by the experience. Compelling themes, sensitive performances, and luscious visuals define this film which is a revealing immersion into the experiential reality of those daring to make their art in a socially condemned arena. For a film ostensibly focusing on manipulated surfaces, Bolton's cinematic artistry probes deep into the consciousness of the "tagger" and "graffiti artist" sub-culture.