童年顾君栩（男主）遭遇绑架，顾氏父母却因求子心切，在路上遭遇车祸。绑匪苦等未果，恼羞成怒想要纵火烧死童年顾君栩。年幼的沈夕烟（女主）在和妈妈躲猫猫时恰好救了在火场中的顾君栩，绑架犯女儿凌小婉在寻找爸爸时看到了晕倒过去的顾君栩和沈夕烟，因为觉得沈夕烟的玉镯漂亮于是把她的玉镯占为己有，顾君栩苏醒后，错认持镯者为救命恩人。成年后的三人重逢，凌小婉却因为害怕失去现有的一切，假饰恩情，屡陷沈夕烟，顾君栩困于

洛晓玥为了逃婚随意嫁给一个农民工，没想到他竟然是首富....

本作は、ランジェリー業界を舞台にしたラブストーリー。ダメな男に引っかかりがちな主人公・蒼井スミレは、彼氏と職を一度に失い傷心のさなか、あるランジェリーと出会い一念発起する。そしてランジェリーデザイナーという新たな夢に向かって邁進していくスミレは、歳下の“ヒモ男子”竹之内宗一と出会い、惹かれていく。ドラマでは、原作のエッセンスを生かしながらオリジナルのストーリーが展開される。

本作は、ランジェリー業界を舞台にしたラブストーリー。ダメな男に引っかかりがちな主人公・蒼井スミレは、彼氏と職を一度に失い傷心のさなか、あるランジェリーと出会い一念発起する。そしてランジェリーデザイナーという新たな夢に向かって邁進していくスミレは、歳下の“ヒモ男子”竹之内宗一と出会い、惹かれていく。ドラマでは、原作のエッセンスを生かしながらオリジナルのストーリーが展開される。

Rachel a 40 ans, pas d'enfant. Elle aime sa vie : ses élèves du lycée, ses amis, ses ex, ses cours de guitare. En tombant amoureuse d’Ali, elle s’attache à Leila, sa fille de 4 ans. Elle la borde, la soigne, et l’aime comme la sienne. Mais aimer les enfants des autres, c’est un risque à prendre…

Rachel a 40 ans, pas d'enfant. Elle aime sa vie : ses élèves du lycée, ses amis, ses ex, ses cours de guitare. En tombant amoureuse d’Ali, elle s’attache à Leila, sa fille de 4 ans. Elle la borde, la soigne, et l’aime comme la sienne. Mais aimer les enfants des autres, c’est un risque à prendre…

Two siblings meet a kind woman who they think would be the perfect new mother for them. But ultimately the decision is with their father, who is still in love with his last girlfriend… who did not get on well with the children. 　　The 1950s were a period of unseen creative growth in the USSR: all over the empire, even in republics that had underdeveloped film production capabilities, young talents made their visions and ambitions seen and heard. The Georgian SSR had already a rich heritage in film, so it was not astonishing that it became a vanguard of the Soviet Union’s new cinema. Its most astonishing new voice was Tengiz Abuladze whose particular sense of realism connected smoothly with similar tendencies in Italy, France or Great Britain. 　　Abuladze’s early works focused on children. Here, it’s two youngsters who feel neglected by their single father and so spend a lot of time on the streets where they meet a kind, young woman who starts to take care of them. When she meets the kids’ father they make it clear what they see in her: a potential new mother. Now, here’s the problem: the father feels still attached to a woman who couldn’t deal with the children… A stylishly shot, gentle masterpiece ripe for re-discovery!

Two siblings meet a kind woman who they think would be the perfect new mother for them. But ultimately the decision is with their father, who is still in love with his last girlfriend… who did not get on well with the children. 　　The 1950s were a period of unseen creative growth in the USSR: all over the empire, even in republics that had underdeveloped film production capabilities, young talents made their visions and ambitions seen and heard. The Georgian SSR had already a rich heritage in film, so it was not astonishing that it became a vanguard of the Soviet Union’s new cinema. Its most astonishing new voice was Tengiz Abuladze whose particular sense of realism connected smoothly with similar tendencies in Italy, France or Great Britain. 　　Abuladze’s early works focused on children. Here, it’s two youngsters who feel neglected by their single father and so spend a lot of time on the streets where they meet a kind, young woman who starts to take care of them. When she meets the kids’ father they make it clear what they see in her: a potential new mother. Now, here’s the problem: the father feels still attached to a woman who couldn’t deal with the children… A stylishly shot, gentle masterpiece ripe for re-discovery!

In The Child of Another (Muna Moto), Cameroonian tradition faces the onslaught of materialism, where dowry and bloodline become the sole remnants of family values. The story centers on Mbongo, a man with four wives yet no children. When Mbongo learns of his impoverished stepson's marital intentions, he sees an opportunity to capitalize. This leading melodrama follows the young lovers Ngando and Ndomé and unfolds with a blend of tenderness and humor. The camera intimately explores the dark interiors of rural huts, meanders along the jungle's narrow paths, and partakes in lively street processions, inviting viewers into the characters' world. However, the film boldly critiques social norms, particularly the oppression of women striving for autonomy in a rigid societal framework. The storytelling reveals the narrative in reverse, as a drumbeat at a ceremony triggers a cascade of memories. The film also resonates personally for the director, who was adopted by his mother's second husband. He reflects, It is related to my childhood, existence, and life experience. I am a muna moto myself. Dikongué-Pipa's commitment to this project spanned eight years, and during filming, he resorted to fishing and hunting to sustain the unpaid crew.