该部作品是描述青涩的大一新生的爱情故事，将展现SNS、网红等最新流行趋势。 　　金香起在剧中饰演大一新生「忠南」，来自忠清南道，热爱甜点，更是甜点界的网红；金旻奎则饰演「延南」，同样是大一新生的他出生在延南洞，是一位拥有可爱笑容的暖男。忠南和延南是同一个学系的新生，一听到彼此的名字后马上成为好友，并发展为恋人关系。

丁佳佳是一名在广州做护士的外地年轻女孩，因为生活不顺心借酒消愁，醉酒的情况下强行坐上了网约车司机楚晨的车，给楚晨造成了麻烦。楚晨以为色狼是丁佳佳的丈夫，把丁佳佳置于危险之中，幸好及时报警，救下丁佳佳。丁佳佳醒来后却认定楚晨才是流氓，俩人不打不相识，但又造成楚晨女友康玲的误会。丁佳佳在帮楚晨追回女友的过程中，发现了康玲的真面目。楚晨放手和康玲的感情后，决定和丁佳佳在一起，即使丁佳佳在病人手术过程中有感染恶性疾病的可能，他也义无反顾，丁佳佳非常感动，最终俩人终成眷属。

林小鹿从乡下来到城里打工，在同乡蔓蔓姐的教唆下，为了赚快钱，到医生周正家做起了保姆。周正是本市很有名的骨科大夫，和夫人苏枚离婚后，专注工作，小鹿的到来让这个刚正不阿的老学究心里有了一点悸动 林小鹿从乡下来到城里打工，在同乡蔓蔓姐的教唆下，为了赚快钱，到医生周正家做起了保姆。周正是本市很有名的骨科大夫，和夫人苏枚离婚后，专注工作，小鹿的到来让这个刚正不阿的老学究心里有了一点悸动

It's a great story, with an excellent supporting cast and Deanna at her breeziest (she isn't Little Miss Fixit here).

Les Maitres Fous is about the ceremony of a religious sect, the Hauka, which was widespread in West Africa from the 1920s to the 1950s. Hauka participants were usually rural migrants from Niger who came to cities such as Accra in Ghana (then Gold Coast), where they found work as laborers in the city's lumber yards, as stevedores at the docks, or in the mines. There were at least 30,000 practicing Hauka in Accra in 1954 when Jean Rouch was asked by a small group to film their annual ceremony During this ritual, which took place on a farm a few hours from the city, the Hauka entered trance and were possessed by various spirits associated with the Western colonial powers: the governorgeneral, the engineer, the doctor's wife, the wicked major, the corporal of the guard. 　　The roots of the Hauka lie in traditional possession cults common among the Songhay and Djerma peoples of the Niger River basin. Gifted men and women may enter trance and become possessed by any of a number of strong gods, such as Dongo, god of thunder and the sky.Supplicants consult the god through the trancing medium and receive advice about their problems, cures for diseases, comfort and support, or reprimands for their wrongdoings. Like these traditional possession cults, the Hauka sect co-existed with Islam and incorporated many Islamic saints and heroes into its rituals. Most of its adherents were Muslims. 　　Hauka first appeared in Niger, it is thought, in the person of a former soldier who participated in the savage battles of the second German offensive of World War I in 1917 and 1918, in which West African troops were decimated despite their spectacular performance. This soldier made the pilgrimage to Mecca and returned to Niger in the 1920s. In his village, in Rouch's account, he found the people "doing a traditional dance and the soldier was possessed, very violently possessed, and while possessed he said 'I am the avant-garde of the new gods who are coming from Malia [the Red Sea]. My name is Governor Malia and I am the first of the new gods who are coming and they are the gods of strength'." 　　The Hauka were quickly suppressed by the French authorities in Niger, with the support of traditional chiefs and priests who feared the popularity of the new movement and its challenge to established authority. But the Hauka cult spread, even within the jail walls, and by 1935 the British administration in Ghana again attempted to suppress it and to jail the cultists. Fires broke out in response throughout Accra, and eventually there was an agreement that Hauka priests would limit their ceremonies to certain places and to Saturdays and Sundays. This was still the case in 1954 when Rouch filmed Les Maitres Fous, which was banned by the colonial government in 1955. 　　The Hauka movement was a phenomenon of the colonial era. After the independence of Ghana in 1957, migration was controlled and many Hauka who had settled in Accra returned to Niger. Niger itself gained independence three years later, and the Hauka began to subside and to be absorbed into the traditional religious system. Dongo, for example, the old god of thunder, is now considered the father of the Hauka. As Rouch has pointed out, "there was no more colonial power and there never was a Hauka called Kwame N'krumah." The events filmed represent the end of the Hauka development. Today the film is shown in the villages of Ghana and in the Niger Cultural Center. 　　The imagery in Les Maitres Fous is powerful and often disturbing: possessed men with rolling eyes and foaming at the mouth, eating a sacrificed dog (in violation of taboo), burning their bodies with naming torches. Beyond the imagery, the themes are also powerful, and have had an impact in our own culture:Jean Genet's The Blacks was modeled upon the Hauka inversion in which blacks assume the role of masters, and Peter Brook's Marat/Sade was influenced by the theatricality and invented language of Hauka possession. Yet, as Rouch reminds us in an interview in Cineaste, possession for the Hauka cultists was not theater but reality. The significance of this reality is left ambiguous in the film, although Rouch's commentary suggests that the ritual provides a psychological release which enables the Hauka to be good workers and to endure a degrading situation with dignity. The unexplored relation of the Hauka movement to their colonial experience 1-S perhaps the most intriguing issue raised by this ceremony in which the oppressed become, for a day, the possessed and the powerful.

The film depicts the psychological journey of a young woman named Victoria. Since her childhood she has been sexually abused by her family. One day she decides to escape but the world is against her and she soon finds herself cast into an inferno of torture and punishment. This causes her unimaginable suffering but she also comes to understand the true meaning of her existence.

Bizzare, often perverse yarn about nurses in a metropolitan hospital who seduce then murder male patients.

The film depicts the psychological journey of a young woman named Victoria. Since her childhood she has been sexually abused by her family. One day she decides to escape but the world is against her and she soon finds herself cast into an inferno of torture and punishment. This causes her unimaginable suffering but she also comes to understand the true meaning of her existence.

Dr. Combs left Los Angeles to go work in the office of a private practice in a small rural town. It isn't long before the patients back in LA seemed normal to every dirty and crazy person in town that shows up at the doctors' office. Although, no matter how bad any of them may seem to Dr. Combs, none of them can compare to Charity Betencourt. A woman who shows up every two weeks with a new problem each time, which is often the result of her willing to perform surgery on herself before going to the good doctor

在《夏风沉醉的晚上》，导演顾晓刚又一次回家，在船上支起银幕放《春江水暖》，给家乡天地和人看。那瓢富春江的水放回江中，任它流向更广阔处。 　　FIRST携手@雷克萨斯中国 邀请顾晓刚导演拍摄的短片上线。东方日常是在富阳的生活，吃茶、钓鱼、坐船，都是紧要的。和导演一起，我们向桃花源驶去。