Angela deMarco is unhappily married to high Mafia member Frank deMarco. When Frank is killed, Angela takes the opportunity to break free of the Mafia world entirely and start a new life. But Frank's boss, Tony Russo, begins to court the unresponsive Angela. The FBI begins surveillance on her, thinking her to be his new mistress. FBI agent Mike Downey goes undercover as Angela's neighbor, but soon finds himself attracted to Angela himself.

Angela deMarco is unhappily married to high Mafia member Frank deMarco. When Frank is killed, Angela takes the opportunity to break free of the Mafia world entirely and start a new life. But Frank's boss, Tony Russo, begins to court the unresponsive Angela. The FBI begins surveillance on her, thinking her to be his new mistress. FBI agent Mike Downey goes undercover as Angela's neighbor, but soon finds himself attracted to Angela himself.

故事发生在军阀混战的民国时期。江南的许家酱园历史久远，是当地有名的老字号，军阀曹震方（汤镇业 饰）对此觊觎已久，便设计陷害许家，致使许家道中落。此前许家鼎盛时，独苗许家骏（钱泳辰 饰）与沈家大小姐沈盈娣（江祖平 饰）定下婚约，许家落败后盈娣悔婚，为践行婚约，沈家养女沈盈秀（余诗曼 饰）替姐姐出嫁。许父得知真相后气绝身亡，家骏也离家出走。一心想攀高枝的盈娣如愿嫁入豪门曹家，可曹家公子曹锐（陆昱霖 饰）是个拈花惹草、风流成性之人，婚后不久便原形毕露，盈娣只能有苦难言。曹家遭萧军打击，曹震方抓来许母和盈秀做人质，花心的曹锐看上了盈秀，姐妹关系彻底破裂……

1925年，军阀割据，全国局势动荡不安。江南许家酱园遭军阀曹震方设计，家道中落。为践行婚约，沈家养女沈盈秀替姐沈盈娣下嫁许家独子许家俊。盈秀的身份暴露后许启山因气绝身亡，家俊离家出走。盈娣费尽心机，嫁进豪门曹家，谁知丈夫曹锐风流成性，盈娣有苦难言。家俊拜萧九为师，率萧军打击曹军，曹震方震怒，抓来王兰和盈秀做人质。家骏不为所动，盈秀为保护婆婆王兰，受尽屈辱，婆媳感情加深。盈娣借机曹锐心仪盈秀维护自己在曹家的地位导致两姐妹关系破裂。曹、萧两军大战，曹震方被擒。家俊是曹震方和朱素萍的亲生儿子，也是曹家真正军阀之家的大少爷，曹锐并非曹震方亲生的事实曝光。曹锐被赶出家门，沦落街头，最终落魄身亡。盈娣孑然一身，回首往事，悔不当初。抗战中，曹震方勾结日本人肇事，最终自食恶果。战争结束，家俊还乡，与盈秀一起经营许家酱园，生意蒸蒸日上 。

本·斯蒂勒有望执导米高梅犯罪题材新片[75区警局]。该片根据蒂勒·罗素(Tiller Russell)执导的同名纪录片改编，讲述80年代腐败的纽约警局辖区，罪犯头目迈克尔·道德(Michael Dowd)1992年同几个敲诈勒索、贩卖毒品的腐败警察一同入狱，他在狱中服役14年。随着迈克尔·道德被捕，纽约警察中广泛的腐败行为随之暴露。该片原计划由扬·德芒热执导，斯科特·弗兰克(《后翼弃兵》)撰写剧本。

In honor of International Women's Year, CBC created this show which took the place of Luncheon Date in the noon slot each summer. With hosts, and often locations, alternated weekly, it covered a range of topics and guests from political figures to musicians. Prior to 1977, when Fred Latremouille and Guido Basso signed on, all hosts were female.

多年前男女主被人下药发生关系。七年后，女主为解决女儿户口问题和男主在民政局相遇，二人决定拼婚。男主帮女主解决了工作的问题，女主也为男主家庭的纠纷做了努力。几经波折后二人带着女儿开始了新的幸福生活。

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Asyl is one of Kren's most formally ambitious works, an experiment in time lapse photography, multiple exposures, and segmented images. When he moved to a home in the country, Kren set up a static camera nearby, and over the course of 21 non-consecutive days, he fed the same strip of film stock through the camera once per day. In front of the lens, Kren also placed a masking board with holes in it, the placement of which was varied daily so that each time the film stock went through the camera, different areas of the image were exposed. The result is a film in which, within a single frame, time and space are made to overlap and coexist in unusual ways, creating impossible landscapes composed from footage shot on different days throughout the year. Sometimes, most of the film is exposed and the image becomes a collaged landscape, in which a snowbank runs directly into a grassy springtime meadow, or in which rain falls through the top half of the frame only to disappear when in reaches the bright sunshine of the lower half. At other times, the image is more pointillist, with distinct areas floating in the black frame like pieces of a puzzle that needs to be assembled. 　　The seasons run seamlessly into each other in this way, and time becomes hazy. Occasionally, a person will walk along the road in one part of the image, disappearing at an invisible border where the image fades into a different day, a different time. Kren is here reconfiguring film as a medium in which time and space cease to be linear in any sense. The film is instead about totalities; it invites the viewer to think about the progress of time and the way it generally works in cinematic images, and by contrast to process the multiple layered times implicit in each frame of Asyl. This short is Kren's finest work, with a conceptual purity and inventiveness that are unmatched even in his consistently intriguing oeuvre.

Asyl is one of Kren's most formally ambitious works, an experiment in time lapse photography, multiple exposures, and segmented images. When he moved to a home in the country, Kren set up a static camera nearby, and over the course of 21 non-consecutive days, he fed the same strip of film stock through the camera once per day. In front of the lens, Kren also placed a masking board with holes in it, the placement of which was varied daily so that each time the film stock went through the camera, different areas of the image were exposed. The result is a film in which, within a single frame, time and space are made to overlap and coexist in unusual ways, creating impossible landscapes composed from footage shot on different days throughout the year. Sometimes, most of the film is exposed and the image becomes a collaged landscape, in which a snowbank runs directly into a grassy springtime meadow, or in which rain falls through the top half of the frame only to disappear when in reaches the bright sunshine of the lower half. At other times, the image is more pointillist, with distinct areas floating in the black frame like pieces of a puzzle that needs to be assembled. 　　The seasons run seamlessly into each other in this way, and time becomes hazy. Occasionally, a person will walk along the road in one part of the image, disappearing at an invisible border where the image fades into a different day, a different time. Kren is here reconfiguring film as a medium in which time and space cease to be linear in any sense. The film is instead about totalities; it invites the viewer to think about the progress of time and the way it generally works in cinematic images, and by contrast to process the multiple layered times implicit in each frame of Asyl. This short is Kren's finest work, with a conceptual purity and inventiveness that are unmatched even in his consistently intriguing oeuvre.