无线电视（TVB）制作了无数脍炙人口的经典剧集，还开创了粤语电视剧流行曲的黄金时代。值此55周年台庆之际，TVB诚意打造歌唱节目《我们的主题曲》，经典剧歌，值得一听再听。 每一集都设定了特定的剧集主题，带领观众走进电视歌曲的世界。节目还会邀请曾经风靡一时作品的原唱歌手，与其他星级嘉宾一同献声。经典歌曲经过重新编曲，被赋予了新的活力，让大家能够细细聆听，感受剧集金曲的独特魅力！

無綫電視(TVB)創製無數膾炙人口的經典劇集，也開創粵語電視劇流行曲的盛世。趁着55周年台慶，TVB誠意打造歌唱節目《我們的主題曲》，經典劇歌，不妨一聽再聽。 每集設有特定的劇集主題，引領觀眾投入電視歌曲世界，還會邀來風行一時作品的原唱歌手，聯同其他星級嘉賓獻聲。經典經過重新編曲，賦予新生命，讓大家細賞靜聽，感受劇集金曲的非凡魅力！

"The Theme" is a film that had to stay on the shelf for almost ten years because of its "theme". Mikhail Ulyanov plays Kim Yesenin, a disillusioned and cynical playwright who uses the system by writing the conformist plays and enjoys the benefits of being the officially recognized and appointed "great Soviet writer" but who in reality has been used by a system and spent all the talent he ever had in writing the plays that had no artistic value whatsoever. Bitter irony lies in the name of the character: Sergei Yesenin was a real life enormously talented, widely popular and beloved Russian poet who committed suicide at the age of 30 in 1925 because he could not fit in the Soviet Russia. Kim Yesenin in the movie suffers the writing block and arrives to the small provincial town with a friend and a young mistress in search of inspiration. He meets an attractive, intelligent and well educated museum guide named Sasha (Inna Churikova never looked so beautiful and sophisticated and I finally understood why Panfilov always had been fascinated by her face, never conventionally pretty) who used to be a big fan of his earlier works but has a lot of unflattering things to say about his officially praised outings. Sasha is in love with a talented historian who had made a very difficult and life changing decision to emigrate from the Soviet Union. He had lost his job by becoming a dissident and had to work as a gravedigger to support himself while waiting for permission to leave the country. Those who never had to emigrate from their country knowing that they might leave forever and never be allowed to go back to see their loved ones and the places dear to their heart again would not fully understand why Panfilov's film had to stay on the shelf for almost ten year after it was completed. It was released only during the "perestroika" in 1987 and I saw it then. I respect Panfilov for his siding with the real artists rejected by the system but his film is not only a courageous statement against the conformity suffocating cultural life under the Brezhnev regime which would be later called "period zastoya" or "stagnation", it is a memorable work of cinema with very good performances from his muse, Inna Churikova, Mikhail Ulyanov, and supporting cast.

"The Theme" is a film that had to stay on the shelf for almost ten years because of its "theme". Mikhail Ulyanov plays Kim Yesenin, a disillusioned and cynical playwright who uses the system by writing the conformist plays and enjoys the benefits of being the officially recognized and appointed "great Soviet writer" but who in reality has been used by a system and spent all the talent he ever had in writing the plays that had no artistic value whatsoever. Bitter irony lies in the name of the character: Sergei Yesenin was a real life enormously talented, widely popular and beloved Russian poet who committed suicide at the age of 30 in 1925 because he could not fit in the Soviet Russia. Kim Yesenin in the movie suffers the writing block and arrives to the small provincial town with a friend and a young mistress in search of inspiration. He meets an attractive, intelligent and well educated museum guide named Sasha (Inna Churikova never looked so beautiful and sophisticated and I finally understood why Panfilov always had been fascinated by her face, never conventionally pretty) who used to be a big fan of his earlier works but has a lot of unflattering things to say about his officially praised outings. Sasha is in love with a talented historian who had made a very difficult and life changing decision to emigrate from the Soviet Union. He had lost his job by becoming a dissident and had to work as a gravedigger to support himself while waiting for permission to leave the country. Those who never had to emigrate from their country knowing that they might leave forever and never be allowed to go back to see their loved ones and the places dear to their heart again would not fully understand why Panfilov's film had to stay on the shelf for almost ten year after it was completed. It was released only during the "perestroika" in 1987 and I saw it then. I respect Panfilov for his siding with the real artists rejected by the system but his film is not only a courageous statement against the conformity suffocating cultural life under the Brezhnev regime which would be later called "period zastoya" or "stagnation", it is a memorable work of cinema with very good performances from his muse, Inna Churikova, Mikhail Ulyanov, and supporting cast.

高中时的祝千双体重飙升，从之前纤细的身材变成了名副其实的“胖子”。升入高二的祝千双和年级第一的乔野分到了同一个班，而在开学第一天，祝千双为了帮乔野捡掉落的耳机，不小心将乔野撞到流鼻血。略有自卑的祝千双因此被全班同学嘲笑，祝千双也尴尬不已。 课间休息时，祝千双想借机将耳机还给乔野，却不小心将课桌上的笔记便签粘到自己身上，乔野追上来，拦住祝千双，让祝千双更加尴尬。但是对于乔野，祝千双心里有了不一样的感情。 新学年开始重新定制校服，乔野负责统计班里同学的校服尺码。当问到祝千双时，祝千双本要脱口而出的XL却没有说出口，最后慌里慌张的报了S码。 为了获得乔野和老师同学们的认可，祝千双决定减肥。

祝千双的中学时代，当时还是个胖子的她喜欢上了学校高高在上的男同学乔野却不敢表白，只能痛下决心减肥。在尝试了节食，吃减肥药，催吐，电疗等各种各样的减肥方法后，祝千双不仅没瘦反而遭受到了周围人的排挤和奚落。祝千双坚持了很久的努力被打回了原形，这段暗恋也无疾而终。毕业后的两人各奔东西，仿佛从未备过住何交集，但她不知道的是，她所经历过的欢呼雀跃，低落伤心也同样在乔野的身上发生过，但两人由于种种原因都没有把自己的情感说出口。两个教会彼此勇敢的人就这样遗憾错过，消失在对方的青春里。

大一新生方佳悦，在大学与高中时的暗恋男神易希臻重逢，方佳悦决定追求易希臻。在追求男神的过程中发生了各种令人啼笑皆非的意外，而方佳悦也发现她并不是单方面暗恋，一场甜甜的、双向奔赴的暗恋故事由此开始。

故事的主角是江童和余锦，两人在高中时期就是情敌兼死对头。江童是商学院第一名，而余锦则是数学系第一名。江童对余锦一见钟情后，开始拼命学习，一跃成为年级第一，只为接近余锦。然而，余锦的一封零分表白情书让江童的暗恋草草收场。 　　大学时期，江童决定藏起小心思，与余锦保持距离，但余锦却突然开始主动接近江童。他为江童递水、捏腿，甚至在各种场合表现出对他的关心。江童逐渐意识到，余锦可能也对他有着同样的感情。

一名神秘的教师来到了一座外省小镇的学校教书。但这名老师并没有老师的样子，他对事物的看法过于现代和自负。但整座小镇都很喜欢他，喜欢到超乎他的想象。

Three generations of women discuss their inner emotions and their interaction with society in this drama from longtime Jean-Luc Godard protégé Anne-Marie Mieville. She uses the sudden editing stops seen in Godard's early work to tell the story of these noble women who live in a world dominated by incurably egomaniacal men who are incapable of satisfying the basic needs of women. Odile (Helene Rousel) is the grandmother, whose job with a car salesman has turned into a necessity she can't afford to give up. Agnes (Anny Romand), Odile's 40-year-old daughter is an intellectual who never married. Although she has had relationships with men, she is seriously questioning their usefulness at this stage in her life. Granddaughter Angele (Gaele le Roi) is a 20-year-old vocal student who contemplates having a child to keep her relationship alive with a boyfriend who is not ready for the responsibilities of fatherhood.