This experimental documentary is a compendium of striking images of Eastern Europe and its citizens in transition, following the collapse of the so-called Cold War. Places as diverse as Baltic beaches, and Moscow's snow-covered streets vie for attention along with the citizens of these places as they wait in lines, march in military formation, or stand idle in the waiting rooms of train stations. There is no narration, and no clear point (except the idea of transitions) is indicated by the beautifully chosen, enigmatic imagery. Indeed, there is not even much musical accompaniment. Fans of director Chantal Akerman's aggressively "non-commercial" work are likelier to find this film more appealing than the average viewer will.

This experimental documentary is a compendium of striking images of Eastern Europe and its citizens in transition, following the collapse of the so-called Cold War. Places as diverse as Baltic beaches, and Moscow's snow-covered streets vie for attention along with the citizens of these places as they wait in lines, march in military formation, or stand idle in the waiting rooms of train stations. There is no narration, and no clear point (except the idea of transitions) is indicated by the beautifully chosen, enigmatic imagery. Indeed, there is not even much musical accompaniment. Fans of director Chantal Akerman's aggressively "non-commercial" work are likelier to find this film more appealing than the average viewer will.

This experimental documentary is a compendium of striking images of Eastern Europe and its citizens in transition, following the collapse of the so-called Cold War. Places as diverse as Baltic beaches, and Moscow's snow-covered streets vie for attention along with the citizens of these places as they wait in lines, march in military formation, or stand idle in the waiting rooms of train stations. There is no narration, and no clear point (except the idea of transitions) is indicated by the beautifully chosen, enigmatic imagery. Indeed, there is not even much musical accompaniment. Fans of director Chantal Akerman's aggressively "non-commercial" work are likelier to find this film more appealing than the average viewer will.

This film is a very short story about a former rescue worker returning from Tokyo – a man who is quite successful in his everyday life, and who, after hearing about another earthquake in Japan, dropped everything and went there to help. He is flying back home in an almost empty plane. Indeed, many regular flights have been canceled, and the ones that are still operated do not sell out. He is flying back with a very elderly Japanese man he had just saved – the man is now all alone in the world, his family had died. And the two men somehow clicked. Perhaps because our main character is also lonely. Also flying with them on the plane are those who are no longer here.Those who did not survive the disaster. Together with the characters, their past moves through space – their memories, their world. The world that is no less, but perhaps even more important for them than the reality.

In 1920, Franz Kafka wrote 120 letters to writer and journalist Milena Jesenská. A love which filled Kafka’s life with light and hope and, at the same time, illuminates his fears and the darkness in him. 　　“Kafka. In Love: the dot says it all, putting a distance between their love (Jesenská was married) and reminding that Kafka’s not-that-long existence and anxious work were about bumping into an unfathomable reality. The dot could also be one of the grains of the splendid sand animation that director Oborenko uses to illustrate Kafka’s shifting emotions as we hear his gut-wrenching letters. Here, sand makes water or fire on screen, replicating the healing and scorching powers of love. Finally, according to Oborenko, “the film explores not just love but also loneliness and the difficulty of loving and accepting oneself”.

In 1920, Franz Kafka wrote 120 letters to writer and journalist Milena Jesenská. A love which filled Kafka’s life with light and hope and, at the same time, illuminates his fears and the darkness in him. 　　“Kafka. In Love: the dot says it all, putting a distance between their love (Jesenská was married) and reminding that Kafka’s not-that-long existence and anxious work were about bumping into an unfathomable reality. The dot could also be one of the grains of the splendid sand animation that director Oborenko uses to illustrate Kafka’s shifting emotions as we hear his gut-wrenching letters. Here, sand makes water or fire on screen, replicating the healing and scorching powers of love. Finally, according to Oborenko, “the film explores not just love but also loneliness and the difficulty of loving and accepting oneself”.

沈氏集团的沈可柔被误抱至林家，二十年后真相揭露，她回归沈家。同时，林雨欣回到林家，成为五个哥哥的宠爱对象。林家简朴的饭桌让雨欣感受到家的温暖，她决心帮助家庭，与母亲一起卖盒饭改善生活。然而，她不知林家其实是隐藏的首富。沈可柔曾因嫌贫爱富被瞒真相，雨欣亦被瞒身世。在这个充满爱与秘密的家庭中，雨欣正用双手创造自己的精彩故事。

沈氏集团的沈可柔被误抱至林家，二十年后真相揭露，她回归沈家。同时，林雨欣回到林家，成为五个哥哥的宠爱对象。林家简朴的饭桌让雨欣感受到家的温暖，她决心帮助家庭，与母亲一起卖盒饭改善生活。然而，她不知林家其实是隐藏的首富。沈可柔曾因嫌贫爱富被瞒真相，雨欣亦被瞒身世。在这个充满爱与秘密的家庭中，雨欣正用双手创造自己的精彩故事。

首富妈咪摊牌了。燕州首富千金燕南枝为了给意外到来的女儿淼淼一个完整的家庭，隐瞒身份嫁给沈云舟，却不料拜高踩低的沈云舟为了假名媛林简与她离婚。燕南枝一怒之下与四大家族之一陆氏集团继承人陆枭闪婚。两人在互相不确认对方的身份情况下，产生羁绊，相知相守。最后发现兜兜 转转还是彼此，原来淼淼的亲身父亲就是陆枭

女主小晴沉浸在那个充满奇幻色彩的游戏之中，化身为身世显赫的苏家大小姐苏晴。在游戏的天地里，苏晴展现出非凡的勇气与决断力，她肆意地挥洒着自己的快意恩仇，以一种决然的姿态将那些与她为敌的人狠狠虐杀。可她却在不经意间，陷入了对主线任务中的 NPC 叶少那难以自拔的爱恋之中。