In 1981, after the presidential elections in France, and the arrival of the french socialists in gouvernement, the french TV asks to Godard to make a movie about the idea of change. 　　Godard, finally, made a short movie in which he explains that , between images and power, or politic, there's always some manipulation. 　　Godard compares himself as a french resistant during the WWII, tortured by Gestapo, suffering of lack of freedom with the actual TV. 　　A great short.

In 1981, after the presidential elections in France, and the arrival of the french socialists in gouvernement, the french TV asks to Godard to make a movie about the idea of change. 　　Godard, finally, made a short movie in which he explains that , between images and power, or politic, there's always some manipulation. 　　Godard compares himself as a french resistant during the WWII, tortured by Gestapo, suffering of lack of freedom with the actual TV. 　　A great short.

一个中年残疾男人无意间与一个女子开始书信往来，他渐渐觉得自己坠入了爱河，而当两个人要见面时，意外发生了……

年仅八岁的泰勒（坦纳·马奎尔 Tanner Maguire 饰）不幸患上了癌症，而幸运的是，他对上帝虔诚和真挚的信仰让他幼小的心灵得到了救赎。泰勒最大的乐趣就是给上帝写信，一封封笔迹幼稚的信里透露出的是对生命的热爱。这些热情洋溢的信统统的被传递到了布拉迪（杰弗里·约翰逊 Jeffrey Johnson 饰）的手上，身为一名邮递员，他知道泰勒的信将永远无法寄出。 　　最近，布拉迪的人生走入了死胡同，周围的一切都让他感到无能为力。没想到，在读了泰勒写给上帝的信后，布拉迪却神奇的获得了自信和感动。布拉迪找到了泰勒的家人并和他们成为了朋友，他决心要帮助泰勒实现他的梦想，与此同时，布拉迪也找到了属于自己的人生信仰。

泰勒·多赫迪（坦纳·马奎尔饰）是个普普通通的八岁男孩儿，有着幸福的家庭和良好的生活和学习环境。但小小年纪的他却因癌症不幸降临而在每个短暂而漫长…

结婚一年，不堪忍受妈宝男老公的唐婉就和潘强提出了离婚，离婚后，唐婉仍未走出上一段婚姻的阴影，仍时不时面对着前婆婆的诘难和潘强时不时的骚扰。 在唐婉准备认真搞事业的时候，却偶遇了自己曾经的老友浩辰，并迅速与他坠入爱河，温柔帅气的浩辰看似是一个完美恋人，却似乎正在将唐婉推向另一个漩涡……

愛人とのHに溺れる女の姿を描いたエロス･ドラマ。

愛人とのHに溺れる女の姿を描いたエロス･ドラマ。

父亲（荒川大三郎 配音）因故身亡，就读于小学六年级的宫浦桃子（美山加恋 配音）不得不和母亲郁子（优香 配音）离开喧嚣的大都会东京，前往位于海峡附近的港口城市汐岛居住。此前，桃子曾无数次与父亲争吵，甚至父亲死后都没能很好地告别。在父亲留给她的遗物中，有一封专门写给她但始终未完成的信。曾经年幼无知任性无情的话语让桃子追悔莫及，她无法接受父亲遽然离世的事实，也无法适应和融入岛上的生活。        另一方面，郁子为了女儿每天都很努力的工作，可是她和桃子之间还时不时爆发争吵。最终，郁子体力不支病倒在床。正当桃子分外苦闷之际，三只妖怪阿岩（西田敏行 配音）、阿川（山寺宏一 配音）、小豆（长岛茂 配音）突然闯入她的家中。妖怪们喋喋不休。食欲旺盛，任凭桃子如何努力也无法将他们赶走。似乎，他们的到来肩负着某个重要的使命……

A Feature documentary on the late Elia Kazan. 　　Director Martin Scorsese speaks candidly and passionately about one of his formative filmmaking influences: the late Elia Kazan. Utilizing precisely chosen clips from Kazan's signature films including "On the Waterfront," "A Streetcar Named Desire," "Gentleman's Agreement," "Baby Doll," "A Tree Grows in Brooklyn," "A Face in the Crowd," "America, America," and "The Last Tycoon," and interview footage of the director himself, co-directors Scorsese and Kent Jones recount the director's tumultuous journey from the Group Theatre to the Hollywood A-list to the thicket of the blacklist. But most of all, they make a powerful case for Kazan as a profoundly personal artist working in a famously impersonal industry.