相府嫡女苏云绮意外发现自己是“命书”中的炮灰女配，并被记录在“命书”当中无法改变。面对不公的命运，苏云绮选择反抗，她要利用“命书”逆天改命，寻求真实的自己，收获真挚的爱情！

相府嫡女苏云绮意外发现自己是小说中的恶毒女配，而她的悲惨结局也被记录“命书”当中无法改变。苏云绮不愿接受命运安排，她要利用“命书”逆天改命，重写自己的人生。 　　剧集改编自林言年的原创小说《执笔者》。

这个故事讲述一位事业有成的摄影师放弃一切投身写作，却陷入赤贫。这是一段清醒而自嘲的激进人生轨迹——一个愿为自由付出高昂代价的男人。

该片在‘德国电影奖’上获得6项预选提名：最佳电影，最佳剪接，最佳剧本，最佳服装设计，最佳音乐，及最佳配乐。 　　“Wholetrain” 是第一部以地铁涂鸦创作为背景的电影。电影中讲述Keep Steel Burning(KSB)-Crew四位年轻人为争取知名度和尊重，不惜付出任何代价，一直寻找机会，捍卫自己的地位。当其他Crew向KSB表示不屑引发挑战，导致了一系列激烈的极具创意的冲突。 　　KSB到铁路轨上把整列火车作为画布进行创作，还有一连串事件，都改变着他们的生活。 　　“Wholetrain” 主演 Mike Adler, Florian Renner, Elyas M´Barek and JacobMatschenz 演出大胆创新，片中所有graffitipieces来自全球各地的涂鸦艺术家。“Wholetrain”里的涂鸦艺术家是大家都熟知的TFP Crew，像Neon, Cemnoz还有ABC Crew的Won。

该片在‘德国电影奖’上获得6项预选提名：最佳电影，最佳剪接，最佳剧本，最佳服装设计，最佳音乐，及最佳配乐。 　　“Wholetrain” 是第一部以地铁涂鸦创作为背景的电影。电影中讲述Keep Steel Burning(KSB)-Crew四位年轻人为争取知名度和尊重，不惜付出任何代价，一直寻找机会，捍卫自己的地位。当其他Crew向KSB表示不屑引发挑战，导致了一系列激烈的极具创意的冲突。 　　KSB到铁路轨上把整列火车作为画布进行创作，还有一连串事件，都改变着他们的生活。 　　“Wholetrain” 主演 Mike Adler, Florian Renner, Elyas M´Barek and JacobMatschenz 演出大胆创新，片中所有graffitipieces来自全球各地的涂鸦艺术家。“Wholetrain”里的涂鸦艺术家是大家都熟知的TFP Crew，像Neon, Cemnoz还有ABC Crew的Won。

Adrift in a lush, nocturnal urban landscape, Nick is a post-modern urban hero asserting his anarchistic agenda on the endless maze of virgin exterior walls that comprise downtown Seattle and Portland. For writer/director Bolton's lonely "tagger" protagonist, the vast wall surfaces of deserted alleys and trainyards are at once a daunting symbol of capitalist oppression and a texturally rich, seamless tableau ripe for exploitation to amplify his artistic dialectic of anger and rebellion. His own virtually anonymous existence seemingly only secondary to the painted surfaces and "rupture the system" manifesto which more poignantly evidence his presence, Nick's prodigious solo graffiti output is interrupted by friendship with another young tagger. Their communication begins as less verbal than a kind of shared graphic tour de force; their enormous collaborative graffiti murals appear to emerge as the unmistakable offspring of their kindred spirit. But eventually their assumptions about one another are disproved as political, emotional and ethical issues arise which cause their relationship to dissolve into the background of urban detritus, and the artists themselves emerge only further atomized and alienated by the experience. Compelling themes, sensitive performances, and luscious visuals define this film which is a revealing immersion into the experiential reality of those daring to make their art in a socially condemned arena. For a film ostensibly focusing on manipulated surfaces, Bolton's cinematic artistry probes deep into the consciousness of the "tagger" and "graffiti artist" sub-culture.

Adrift in a lush, nocturnal urban landscape, Nick is a post-modern urban hero asserting his anarchistic agenda on the endless maze of virgin exterior walls that comprise downtown Seattle and Portland. For writer/director Bolton's lonely "tagger" protagonist, the vast wall surfaces of deserted alleys and trainyards are at once a daunting symbol of capitalist oppression and a texturally rich, seamless tableau ripe for exploitation to amplify his artistic dialectic of anger and rebellion. His own virtually anonymous existence seemingly only secondary to the painted surfaces and "rupture the system" manifesto which more poignantly evidence his presence, Nick's prodigious solo graffiti output is interrupted by friendship with another young tagger. Their communication begins as less verbal than a kind of shared graphic tour de force; their enormous collaborative graffiti murals appear to emerge as the unmistakable offspring of their kindred spirit. But eventually their assumptions about one another are disproved as political, emotional and ethical issues arise which cause their relationship to dissolve into the background of urban detritus, and the artists themselves emerge only further atomized and alienated by the experience. Compelling themes, sensitive performances, and luscious visuals define this film which is a revealing immersion into the experiential reality of those daring to make their art in a socially condemned arena. For a film ostensibly focusing on manipulated surfaces, Bolton's cinematic artistry probes deep into the consciousness of the "tagger" and "graffiti artist" sub-culture.

内容简介： 　　《北京涂鸦》是第一部关于中国涂鸦的纪录片。Lance Crayon对在北京做涂鸦的艺术家们进行了长达一年的跟踪拍摄，所完成的纪录片深刻洞察了他们的作品和内涵。 　　涂鸦正在中国发展，北京也不例外。用绚烂缤纷和扭曲变形的字母来书写人名的艺术形式起源于20世纪70年代的纽约。在那里，年轻的孩子们到他们所在城市的地铁，将他们的别名留在车体外。地铁载着这些别名环游整个城市，让其成为附近一带小有名气的艺术家。一些电影如Wild Style就描写了这样的场景。 　　接着，自1983年起，涂鸦成为一个全球性现象。而现在，涂鸦艺术已经成为世界性的流行文化，当然，它最终也来到了中国。 　　和西方大城市的涂鸦相比，北京涂鸦规模还小，但是中国的涂鸦艺术家们正努力使中国在世界涂鸦版图中占有一席之地。 　　对中国古典绘画意象的临摹和对中国汉字的运用是将中国涂鸦从西方涂鸦风格中解脱出来的开始。涂鸦不仅仅是画上美丽缤纷的图案，它也是人们对所居住城市的一种探索，去发现新的可以绘画的空间，将个人标记留在都市环境中，从而使自身成为城市的一部分。 　　涂鸦和街头艺术的参与者们用他们的作品玩耍着城区的空间，而城市规划人员则根本没有将这些空间作为公共空间来规划。那些“非空间”的空间，如铁路沿线、拆迁地区、地下通道、桥梁、闲置空地等场所被艺术家们赋予了生命，因而变成了公共空间——这里讲的“公共”是指在没有（或者说被忽视了的）国家和经济管理的情况下 　　由市民开发利用的 。这种开发利用在大部分情况下只是短暂的，利用时间的长短受诸多因素的影响，例如因为新建建筑、国家控制的介入，或艺术家自己发现了新的涂鸦场所。 　　通过这种非政治性和非商业性的占地方式，原先不被重视的“非空间”变成了重要的社会场所。这里要强调的是与此相反的政治性和商业性占地，它是在国家或经济界权威的领导下实现的。涂鸦画家及其图画文字以两种形式出现在城市空间当中， 　　一种是画家本人真实出现在某个场所，这些场所多数情况下都是被人们忽视的。这里主要讲的是画家经常光顾并涂鸦的场所。画家的到场使这些场所有了生气，会招引来各种访客，比如画家自己的朋友、观众和其他看热闹的人。 　　画家在现场的时间虽然有限，但他留下的文字图画却有目共睹，这些文字图画代表着作者的存在，向公众昭示：“我来过这里”。