方雨欣重生回到极寒天灾降临前三个月，手握带储物与加速种植功能的玉佩空间。为守护父母，她卖房贷款炒股赚得巨款，买下废弃疗养院改建地下堡垒，疯狂囤积物资。期间，她震慑贪婪舅舅王海，击溃重生学长赵磊的挑衅，营救顶尖医生刘承德组建医疗团队，以 “供应商” 身份隐秘援助幸存者。面对极寒、洪水、酷热三重天灾，以及 “狼群” 首领苍狼的致命围攻，方雨欣凭借精密防御与智勇双全的反击化险为夷，最终打造出自给自足、安稳有序的末世绿洲，守护着家人与伙伴迎来希望黎明。

前世身为5级双系异能者，却被队友背叛送上实验台，心死自爆后竟重生回末世前一个月，异能与无限空间皆在。刚理清思绪，恨之入骨的小叔一家便来抢房。我强压仇恨，挤出眼泪装委屈，陪他们演戏，心中却发誓这一世定要囤货复仇，绝不放过伤害过我的人。

70 年代苏家以竹筒抽豆决定苏安和苏月谁去下乡谁去机械厂当会计，重生的苏安直接揭穿其中猫腻，前世她遭遇诸多不公含恨而死，重生后她决定拿回属于自己的一切。 改编自:番茄小说《谁家的滚刀肉啊？竟然让她下乡了》 作者【淼淼想暴富】

70 年代苏家以竹筒抽豆决定苏安和苏月谁去下乡谁去机械厂当会计，重生的苏安直接揭穿其中猫腻，前世她遭遇诸多不公含恨而死，重生后她决定拿回属于自己的一切。 改编自:番茄小说《谁家的滚刀肉啊？竟然让她下乡了》 作者【淼淼想暴富】

In an effort to do something different| four friends head into Australia's outback to explore Charlie's Farm| the site where a violent family met their end at the 　　hands of an angry mob. Despite all warnings| they persist in their horror-seeking adventure.

In an effort to do something different| four friends head into Australia's outback to explore Charlie's Farm| the site where a violent family met their end at the 　　hands of an angry mob. Despite all warnings| they persist in their horror-seeking adventure.

A portrait of an art institution as a cinematic landscape: in a succession of static shots, James Benning explores the buildings and terrain of the California Institute of the Arts, where he teaches. A series of views of nature filmed in the surrounding park and woods transitions into images of floors, seating areas and other details of a public building not meant for show. In both parts, an uncanny feeling dominates: the geometries of nature, the dark green and brown tones, the rushing of the highway in the background on the one hand and the humming of halogen lamps, the sound of steps in an otherwise seemingly empty school on the other – it all seems to be hiding a secret. The camera’s gaze is almost always restricted; it rarely penetrates very far into the image. It discovers shabby corners, observing scenarios more reminiscent of a mystery novel than the campus of an art institution. More so than in the majority of James Benning’s longer works of recent years, a narrative lies concealed within the images; every shot creates an urge to move forward, a tension, almost as if the landscapes and interiors were the scenes of a crime.

A portrait of an art institution as a cinematic landscape: in a succession of static shots, James Benning explores the buildings and terrain of the California Institute of the Arts, where he teaches. A series of views of nature filmed in the surrounding park and woods transitions into images of floors, seating areas and other details of a public building not meant for show. In both parts, an uncanny feeling dominates: the geometries of nature, the dark green and brown tones, the rushing of the highway in the background on the one hand and the humming of halogen lamps, the sound of steps in an otherwise seemingly empty school on the other – it all seems to be hiding a secret. The camera’s gaze is almost always restricted; it rarely penetrates very far into the image. It discovers shabby corners, observing scenarios more reminiscent of a mystery novel than the campus of an art institution. More so than in the majority of James Benning’s longer works of recent years, a narrative lies concealed within the images; every shot creates an urge to move forward, a tension, almost as if the landscapes and interiors were the scenes of a crime.

"Ranchlands" is an LGBTQ drama about an urbane, yet lost gay man who returns to his estranged Christian family to care for his ailing brother - and finds romance with a queer ranch hand.

"The Farm" is a horror film about two brothers (Sean and Mark) on their way to visit their father in a remote location. While the time and weather are against them, the brothers decide to stay at a B&B on a farm. By the time they realize that something isn't quite right, it is far too late.