在大学期间，苏蕴然向谢琰白表白了99次，但每次都遭到拒绝。然而，她后来才得知，谢琰白其实早就对她一见钟情，之所以不答应，是因为他想看苏蕴然为他生气、被欺负。苏蕴然在得知真相后，决定不再追求谢琰白，并为了报复他，一边暗示一个月后会进行第100次表白，一边悄悄准备永远离开。然而，谢琰白却满心欢喜地等着她的告白

宋襄是严总的私人秘书负责严总的一切却发现严总只是把她作为工具弃之如履于是她决定离开严总没想到前总裁竟开始穷追不舍。

姜时愿遭沈律初背叛后，误将联姻对象裴彻认成其侄子， 闹出乌龙。她起初视婚姻为政治交易，后逐渐知晓裴彻多年深情。两人携手应对阴谋，终成眷属，姜时愿也实现成长。

三年隐忍，今日百倍还

London fop Percy Blakeney is also secretly the Scarlet Pimpernel who, in a variety of disguises, makes repeated daring trips to France to save aristocrats from Madame Guillotine. His unknowing wife is also French, and she finds that her brother has been arrested by the Republic to try and get her to find out who "that damned elusive Pimpernel" really is.

兩位年輕的女導演以影像書信的對話形式討論電影、家庭、母職等。運用深刻的個人反思將日常生活體現於電影中。這些影像片段不僅促使兩人審視自己，也彼此分享自己的一部分。透過鏡頭，同時記錄了時代的變化。

兩位年輕的女導演以影像書信的對話形式討論電影、家庭、母職等。運用深刻的個人反思將日常生活體現於電影中。這些影像片段不僅促使兩人審視自己，也彼此分享自己的一部分。透過鏡頭，同時記錄了時代的變化。

This correspondence, or exchange of letters and video diaries between acclaimed filmmakers Jonas Mekas and José Luis Guerin is extremely potent, there's sorcery at play in the mixture of the two. Together they're light and dark. Mekas knows life's joys, and is always a participant in what he films, Guerín is a detached observer, cold, present only as a black mote, reflected in the eye of one of his subjects. Guerín shoots in black and white and strives for formalism, Mekas loves hazard, loves his chaotic hand-held colour camera. Jonas Mekas felt that his images were inferior to those of Guerín, but a picture of his son Sebastian devouring a pickle, followed by Jonas on the deli sausage and wine, and then a cheeky close up of Goethe's Faust; which of them Faust and which Mephistopheles? That one shot set me thinking about the nature of art and the privilege of artists, and could be interpreted in any one of several fruitful ways. 　　Guerín's Camera is brutal, his viewpoint black, on death and distance. He sends Jonas a morbid video, regarding a Slovenian film writer, which is almost a provocation. One beautiful moment, filmed through a gap in his hotel room's curtains shows a young couple frolicking in the sea, for which brief segment he allows music. It's deliberately voyeuristic though, Guerín is distant he identifies with migrant workers he films in Venice. 　　The films, in an aesthetic sense presents clarity versus confusion, reality versus a dreamer's obfuscation. There's an extent to which what we see is a real correspondence, an extent to which they are talking past one another. Guerín intones that dialogue between filmmakers is an impossibility, over images of fish heads on ice in a market. It's one of two visual quotes I suspected are from Pere Potabella (from Pont de Varsovia). 　　The difference in viewpoint I suspect ultimately is that Mekas sees beauty in the fact that life goes on, wonder in impermanence, Guerín is blanched by it.

This correspondence, or exchange of letters and video diaries between acclaimed filmmakers Jonas Mekas and José Luis Guerin is extremely potent, there's sorcery at play in the mixture of the two. Together they're light and dark. Mekas knows life's joys, and is always a participant in what he films, Guerín is a detached observer, cold, present only as a black mote, reflected in the eye of one of his subjects. Guerín shoots in black and white and strives for formalism, Mekas loves hazard, loves his chaotic hand-held colour camera. Jonas Mekas felt that his images were inferior to those of Guerín, but a picture of his son Sebastian devouring a pickle, followed by Jonas on the deli sausage and wine, and then a cheeky close up of Goethe's Faust; which of them Faust and which Mephistopheles? That one shot set me thinking about the nature of art and the privilege of artists, and could be interpreted in any one of several fruitful ways. 　　Guerín's Camera is brutal, his viewpoint black, on death and distance. He sends Jonas a morbid video, regarding a Slovenian film writer, which is almost a provocation. One beautiful moment, filmed through a gap in his hotel room's curtains shows a young couple frolicking in the sea, for which brief segment he allows music. It's deliberately voyeuristic though, Guerín is distant he identifies with migrant workers he films in Venice. 　　The films, in an aesthetic sense presents clarity versus confusion, reality versus a dreamer's obfuscation. There's an extent to which what we see is a real correspondence, an extent to which they are talking past one another. Guerín intones that dialogue between filmmakers is an impossibility, over images of fish heads on ice in a market. It's one of two visual quotes I suspected are from Pere Potabella (from Pont de Varsovia). 　　The difference in viewpoint I suspect ultimately is that Mekas sees beauty in the fact that life goes on, wonder in impermanence, Guerín is blanched by it.