曾经的警界精英真岛拓朗（玉木宏 饰）一年前在追查嫌疑人时导致下属遇害，从此遭到同侪排挤，其本人也自甘沉沦。当听说最信赖的上司三轮周平（モロ師岡 饰）失踪时，真岛重整旗鼓，展开调查。在此过程中，他偶然邂逅美丽女子野上芽衣子（菅野美穗 饰）。芽衣子是东京某宠物沙龙的职员，她温柔可亲，善良随和，但其阳光般的笑容背后却有着悲伤的过去。十五年前，芽衣子被控杀害了姐夫和外甥，饱受牢狱之苦的她决定向当年那些罗织罪名陷其入狱的人展开复仇。与此同时，真岛在追查三轮管理官下落的过程中，发现近一段时期发生的几起死亡事件背后有着千丝万缕的联系。　　疑点几乎渐渐聚焦在芽衣子的身上，而真岛和她的命运也紧紧缠绕在一起……

千年之前，镇国大将军齐云霄平定边疆，却因功高震主被帝王瑾叙赐死。挚爱长公主瑾柔殉情相随。齐云霄魂魄不散，与神明定下契约，以月满剜心之痛换千年寻妻之路，却将堕入地狱。千年后，齐云霄化身总裁，偶遇苏家孤女苏瑾玉。她与瑾柔容貌无二，腕间珊瑚手串更是当年定情信物。一场错认、几番纠葛，前世记忆逐渐苏醒。苏家算计、徐家追杀接踵而至，跨越千年的爱恋，终将在宿命与救赎中，迎来最终结局。

"It’s kind-of small town and big boredom…” is the sharp judgment that a character in Jozef Zachar’s film, Contract With the Devil, passes on any Slovak town (including its capital city). At the point when storyline examines and explains the events that have already taken place, this comment reveals the main theme of the film, namely the forms of our boredom, the protagonists of our boredom, and what to do about our boredom. It is a theme that many viewers by the end of the 1960s appreciated as interesting, provocative, or daring. However, Zachar’s film certainly does not mark a breakthrough in filmic resolution of the theme. More than anything else, this trifle of a comedy—popular with viewers—is an interesting and emblematic battlefield of carelessly wasted opportunities. It holds viewers’ attention through a series of mere hints at insubordination to the societal constraints imposed or petrified by Communism. But the unfinished, careless filmic execution of those hints shows in high definition, so to say, the limits of many filmmakers’ thinking during the precious period of relaxed Communism in the 1960s. 　　The storyline is mundane, or as Pavel Branko characterized it, “a prurient story calculated for commercial success. [1] ” It begins with the discovery by high-school officials that five female students left erotic photos (presumably theirs) in a classroom, along with a contract with the devil that they would lose their virginity before graduation. Their parents’ reactions range from “Our Eva has the best upbringing, austere and Christian… and Communist!” to “I used to have a body like this, too!” The parents try to annul the contract with the devil by their own avowal to supervise and discipline their offspring more severely. But the girls run away from the gynecological exam that was to confirm their virginity, and from their model homes and school. What follows is a series of episodes of their “courageous,” hopeful, as well as embarrassing attempts to breech the interdiction imposed by the two basic educational institutions—school and family. 　　The film’s wasted potential is most palpable in two scenes that strive to assault the viewers’ presumed, unprincipled, small-town provincialism, summed up in the phrase “don’t get involved and you’ll be fine.” These scenes are “counterattacks” against the operation of schools and families. The first scene is a variation on the device of a film-within-a-film: a family screens their “morally uplifting” 16-mm home movie for Marcela, one of the girls. The father operates the small gadget, the family projector, hoping to affirm the workings of the basic societal contraption, the family. However his projector, just like his family, keeps breaking off. 　　The second scene is the party at the home of the son of “big-league parents,” where Emma, another of the girls, performs a striptease. According to The History of Slovak Film, at that time “formerly quite prudish filmmaking, which, of course, tabooed a naked female body in the name of Communist—and Catholic—norms, now incorporated striptease and love scenes that were not exactly copied from a handbook of appropriate behavior.”[2] But the erotic charge of the scene is not the only issue. The interesting, tension-creating polarization between the characters (abandon versus corruption), the use of characteristic dialogue, and the overall, vividly acted “playfulness”—all of these contain the potential for a better film. The daring culmination of the scene is not the image of a naked student, but the heretical burning of a cross in a glass of cognac that is set on fire. 　　The paradoxical reception of Contract with the Devil at the time of its release is often forgotten. While Juraj Jakubisko’s Crucial Years (also known as Christ’s Years; Kristove roky, 1967), released in the same year, was met with acclaim by reviewers and has remained a common topic in works on Slovak cinema, at the same time its popular reception was lukewarm, attendance low, and some viewers even criticized it as immoral. By comparison, Contract with the Devil generated good ticket sales. On the one hand, this was indicative of the level of the relaxation of communism in 1967, but also, on the other, of the degree to which Contract with the Devil was behind the times: the film, which clearly intended to offend what it saw as ossified prudish morality, actually received praise from Ctibor Štítnický, the communist-appointed Director of the Koliba studios, as a “decent” film, both in terms of its commercial success and its content. [3] Paradoxically then, Contract with the Devil, conceived as a piercing thematic breakthrough, merely became a popular entertainment film by the time of its release due to the quick pace of political changes in the country, and it did not contain enough artistry to sustain a reputation among cinéastes afterwards.

本片刻画了法国文学巨匠埃米尔·左拉和印象派绘画大师塞尚之间著名的决裂。在普罗旺斯如诗如画的乡间，年轻的左拉和塞尚彼此欣赏和启发，共同探讨艺术的真谛，结下了深厚的友谊。随着二人在各自的艺术领域里不断接近自己的理想，现实主义的左拉和浪漫主义的塞尚最终无法继续彼此理解。他们的友谊也走到了尽头。

心理学高材生沈黎雾为寻亲结识刑侦队长周烬，周烬因战友（沈兄）临终托付护她。破案时，她身世揭晓：家人皆为缉毒烈士，哥哥每年匿名送礼物。周烬从责任到心动，用承诺温暖她，两人相恋，以爱治愈伤痕，成为彼此黎明。

这部动画讲述了一个学习汉字的小女孩的故事，她进入了她的幻想世界，与一只从文字中活起来的兔子交朋友。她在这个世界学会了许多字，包括兔子、森林、太阳、鱼、花、鹰、鸡、雨和彩虹。

你问我什么是傩？信仰为食，神力为骨，傩神在饥荒年间踏粮救世，于饿殍遍野里洒下生机，在狗娃子心中种下信仰火种。百年光阴弹指过，人间烟火几经更迭，傩的香火日渐凋零，她在残烛微光里陷入沉眠。直到某日，她被一股污浊的气息惊醒，却见宵小之辈顶着“傩神”之名招摇撞骗，披着戏服糊弄百姓，窃取本该滋养神祇的人间香火，更妄图篡夺传承千年的非遗根脉。当年的狗娃子早已垂垂老矣，如今成了一具活死人，肉身朽败，唯余一口执念

故事发生在1814年5月，拿破仑（丹尼尔·奥图 Daniel Auteuil 饰）来到了厄尔巴岛上，成为了这个小小岛屿上的统治者。马丁诺（埃里奥·杰曼诺 Elio Germano 饰）是岛上的居民，有一位脾气暴躁的姐姐米若拉（弗兰西斯卡·茵奥蒂 Francesca Inaudi 饰）和一个性感富有的女朋友艾米丽（莫妮卡·贝鲁奇 Monica Bellucci 饰）。 　　曾经，马丁诺也是一个热血沸腾的爱国青年，对统治者的花言巧语抱有着天真的幻想，然而，上一任统治者的昏庸和残暴不仅毁掉了他的人生，还彻底粉碎了他对于政治家的天真幻想，如今拿破仑上任，马丁诺坚信他将重蹈上一任的覆辙，继续独裁统治。为了避免悲剧的发生，马丁诺的脑袋里生成了一个计划。

这部剧集改编自安·明（Ann Ming）的《为了对朱莉的爱》（For the Love of Julie），讲述了明长达15年为女儿朱莉（Julie）的凶手讨回公道的揪心故事。1990年，朱莉失踪80天后，人们在她家的浴室里发现了她的尸体。杀害她的男子在两次审判失败后均被无罪释放，最终才承认了谋杀罪行。

麦妈因在邻村工作而无暇照顾麦米，一直将其寄养在奶奶家。奶奶去世，麦妈只好暂时将麦米托付给舅舅。麦米与妈妈难舍难分，麦母临走送给麦米一块巧克力和一只手表，告诉她不久就会接她去妈妈所在的学校。但车刚一开走，麦米就发现手表的指针不再跑动。