本作はスカッシュ部に所属する風変わりな高校生男子・代々木ジョニーを主人公に据えたスポ根青春物語。マイペースな放課後を送っていた彼は、熱血新人部員の入部によって練習に力を入れるようになる。さらに田舎から東京に来て近所の古本屋でバイトしている女子と出会うなど、恋愛・友情・部活が彼の日常を変化させていくのだった。

本作はスカッシュ部に所属する風変わりな高校生男子・代々木ジョニーを主人公に据えたスポ根青春物語。マイペースな放課後を送っていた彼は、熱血新人部員の入部によって練習に力を入れるようになる。さらに田舎から東京に来て近所の古本屋でバイトしている女子と出会うなど、恋愛・友情・部活が彼の日常を変化させていくのだった。

宮子は、父親の知人であった北島トヨの家の二階に間借りしていた。トヨは気の強い女であったが、どこか影のある宮子の面倒をよくみてくれた。ある日、昔別れた辰吉の消息を源二から聞きだした宮子は、上野のある寿司屋に向かう。小窓の隙間から中を伺う宮子の目に、いきりたつ体をぶつけ、信江を攻める辰吉の姿が写った。辰吉を忘れられない宮子は、夕暮れの隅田川畔に佇み、むなしさと苛立ちのあまり、いい寄ってきた中年男を思いっきり殴ってしまうのだった。夜のネオン街をさまよう宮子は、自暴自棄になり、酒場で知り合った男に抱かれ、辰吉の面影を追い続ける。辰吉への思いを清算しようと決意した宮子は、彼の店を訪ね、自分を抱いてくれと哀顔する。辰吉の腕の中で、宮子は昔の下町を思い出す。走馬燈のように宮子の脳裏をかすめる昔の辰吉の姿。二人の後をつけて来た信江は、安宿の前で辰吉が出てくるのを待っていた。辰吉の姿をみつけ、泣き崩れる信江を、辰吉は優しく抱き寄せる。遠ざかる二人の姿を見送る宮子の目に涙が潤んでいた。浅草の節分会で、坂田に励まされた宮子は、辰吉の面影をふりきって生きる事を決意する。何もかも忘れ、無心に豆を拾う宮子の姿を、坂田は優しく見守るのだった。

7日7频道栏目的基本构架是以故事化的选题为主导，辅以生活服务类资讯信息。2012年停播。

Lord of the Frames: Kurt Kren 　　by Peter Tscherkassky 　　Translation: Elisabeth Frank-Großebner 　　reprinted from exhibition catalog, Kurt Kren at Wiener Secession, 1996 　　In 1964, "Wien Film" refused to print 6/64 Mama und Papa. When Kurt Kren handed in the original, the film grader said with an undertone of sympathy that, given the many cuts, one would not be able to make out anything, anyway. His worries were groundless: when Kren came to pick up the print, some people with flushed faces left the projection room, telling him to get out and never to come back again. A few months later, a similar scene took place at "Listo", where 9/64 O Tannenbaum was not accepted. Kren ultimately found a place that took his films, based on actions by Otto Muhl and Gunter Brus: a house on Peter Kaiser Gasse in Jedlersdorf, a neighborhood in the East of Vienna, on the other side of the river Danube. There, in the 21st district, on the most remote outskirts of town, films were developed and printed in self-made contraptions reminiscent of washing-machine drums. The man who ran the business single-handedly intimated that he was used to explicit images owing to customers from the blue movie scene. The facts that the credits in a few Kren works from those days are slightly out of place and that the name "Kren" next to the copyright sign goes beyond the edge of the frame can be explained in this context. On request, credits were in-house productions, but they were made with a camera that had no view finder, for which reason slipped boards were none too unusual. There were no objections to the films' content, formal and creative issues played a secondary role. 　　Be that as it may - the "© Kren" jutting out over the frame can easily be understood as a metaphor of the avant-garde and a harbinger of cinema outside the screen - Expanded Cinema. It is precisely during the "Jedlersdorf period" in his oeuvre that Kurt Kren demonstrates some of its best knacks to modern cinematography. 　　(Source: http://www.hi-beam.net/mkr/kk/kk-bio.... 　　http://www.ubu.com/film/kren.html

Lord of the Frames: Kurt Kren 　　by Peter Tscherkassky 　　Translation: Elisabeth Frank-Großebner 　　reprinted from exhibition catalog, Kurt Kren at Wiener Secession, 1996 　　In 1964, "Wien Film" refused to print 6/64 Mama und Papa. When Kurt Kren handed in the original, the film grader said with an undertone of sympathy that, given the many cuts, one would not be able to make out anything, anyway. His worries were groundless: when Kren came to pick up the print, some people with flushed faces left the projection room, telling him to get out and never to come back again. A few months later, a similar scene took place at "Listo", where 9/64 O Tannenbaum was not accepted. Kren ultimately found a place that took his films, based on actions by Otto Muhl and Gunter Brus: a house on Peter Kaiser Gasse in Jedlersdorf, a neighborhood in the East of Vienna, on the other side of the river Danube. There, in the 21st district, on the most remote outskirts of town, films were developed and printed in self-made contraptions reminiscent of washing-machine drums. The man who ran the business single-handedly intimated that he was used to explicit images owing to customers from the blue movie scene. The facts that the credits in a few Kren works from those days are slightly out of place and that the name "Kren" next to the copyright sign goes beyond the edge of the frame can be explained in this context. On request, credits were in-house productions, but they were made with a camera that had no view finder, for which reason slipped boards were none too unusual. There were no objections to the films' content, formal and creative issues played a secondary role. 　　Be that as it may - the "© Kren" jutting out over the frame can easily be understood as a metaphor of the avant-garde and a harbinger of cinema outside the screen - Expanded Cinema. It is precisely during the "Jedlersdorf period" in his oeuvre that Kurt Kren demonstrates some of its best knacks to modern cinematography. 　　(Source: http://www.hi-beam.net/mkr/kk/kk-bio.... 　　http://www.ubu.com/film/kren.html

Rajiv and Varsha, a couple with a five-year-old son, Rahul, moves to a new flat where Varsha faces paranormal activities. Can Varsha fight against supernatural forces to save their dream house, or she decides to leave her house to save her family?

《错乱》老者花村（柄本明 饰）和朋友仙田（足立正生 饰）外出钓鱼，偶然卷入男女的纷争之中，最终酿成了冲动杀人的惨剧。《夜樱修罗》刚刚上了年纪的老人忠男（佐野史郎 饰）在夜晚观赏樱花，没曾想遭遇了男男女女相互杀害的事件。《怀念的旋律》战后的简易房中，底层的无赖汉上演了一段关于爱和别离的残酷故事。《声音》无处可去的老人，彷徨走向迷茫的未来。 　　本片根据柘植忠男的短篇漫画集《成り行き》改编，柘植忠男是漫画家柘植义春的弟弟。片中另有一个根据4个短篇而拍摄的原创故事。

《错乱》老者花村（柄本明 饰）和朋友仙田（足立正生 饰）外出钓鱼，偶然卷入男女的纷争之中，最终酿成了冲动杀人的惨剧。《夜樱修罗》刚刚上了年纪的老人忠男（佐野史郎 饰）在夜晚观赏樱花，没曾想遭遇了男男女女相互杀害的事件。《怀念的旋律》战后的简易房中，底层的无赖汉上演了一段关于爱和别离的残酷故事。《声音》无处可去的老人，彷徨走向迷茫的未来。 　　本片根据柘植忠男的短篇漫画集《成り行き》改编，柘植忠男是漫画家柘植义春的弟弟。片中另有一个根据4个短篇而拍摄的原创故事。

更夫在花灯楼烧死，沈松受到重瞳力量的控制查案找到线索，花灯门楼下埋藏的60多具尸骨被发现；沈松顺着烧死更夫手指指向提示来到南柯楼，结识了玩世不恭的公孙离，但在南柯楼公孙离不仅没有发现线索，还被李琴儿威胁查案，因为拒绝为其效力，沈松无辜被举报为凶手，公孙离站出来及时解围，沈松无罪释放，可李琴儿并没有放弃甚至用沈松舅舅要挟，沈松被迫答应查案。