玄学大佬白小七一直被贫穷命格所扰，决心下山破除穷命，偶遇了命不久矣却身怀富贵命格的陆斯年，为了摆脱穷命，白小七以和他他结婚为条件，治好了陆斯年的绝症，但却仍没有拜托穷命，她这才发现，症结出在自己二十年未见的家人身上。

10 min

为帮助小七修炼成仙，啸天、金城和小七开了一间贩卖法术的杂货铺，通过传授法术来帮助人们实现心愿。在这期间，他们遇到了形形色色的人与各种各样的人间烦心事，但因为法术需要用人的恶念交换，从而上演了许多令人啼笑皆非的闹剧。 　　最终，金城找到了自己失散许久的爱人小翠；初到人间的小七，也在这历练中感受到了人间的有趣，更对啸天产生了难以名状的情愫；一心捉妖的捉妖师啸天发现，世间竟有小七这般善良可爱的妖，而所谓“捉妖”竟是一场蓄谋多时的阴谋……

在一次奇幻剧本大赛中，编剧创作了一个吊车尾二流捉妖师啸天遇上善良可爱的猫妖小七和一心寻妻的帅哥幽灵金城，尽管各有目的但又齐心协力寻找做好事的机会，帮助小七成仙的奇幻故事。三人集结后秉着好事寻不到，让坏事来寻我的原则，法术杂货铺正式开张。三人在破解不一样的难题中建立深厚友谊，在一场场啼笑皆非的助人为乐故事里展现人间的真情冷暖，同时也完成了三人各自的成长与蜕变。

医生凌凡穿越修仙界，因为修仙资质极差并未采取传统的修仙晋级流程，而是反其道而行之，深入研究回复法术，经过反复的试验，终于精通了回复法术，却发现回复法术精通到了极致之后，已是证悟大道，突然无敌了。整个修仙界，乃至上界的灵界和仙界的原有势力格局都要被凌凡颠覆了。

为帮助小七修炼成仙，啸天、金城和小七开了一间贩卖法术的杂货铺，通过传授法术来帮助人们实现心愿。在这期间，他们遇到了形形色色的人与各种各样的人间烦心事，但因为法术需要用人的恶念交换，从而上演了许多令人啼笑皆非的闹剧。最终，金城找到了自己失散许久的爱人小翠；初到人间的小七，也在这历练中感受到了人间的有趣，更对啸天产生了难以名状的情愫；一心捉妖的捉妖师啸天发现，世间竟有小七这般善良可爱的妖，而所谓“捉妖”竟是一场蓄谋多时的阴谋……

A famous docking: Algiers, the White City, in a radiant light. The picture darkens with a voice-over reading of the text of the surrender of the Dey of Algiers in 1830. About the Conquest confronts us with a page of the French national novel that was too hastily turned. Franssou Prenant audaciously gathers a community of complicit voices who read a succession of archives (reports, testimonies, memoirs, historical, geographical, and urbanistic considerations) in a matter-of- fact tone. Recounting the stages of France’s colonisation of Algeria between 1830 and 1848, they outline the ideological landscape of a staggering annihilation effort. The film could just as well have been entitled About Destruction. Franssou Prenant thus constructs a memorial with a technique common to History and cinema: montage. A montage of texts: the words of Victor Hugo, Ernest Renan, Tocqueville are interwoven with those of military men, senior officials, brigadiers, without any way of distinguishing the authors. Then, a montage of images through which yesterday’s acts of violence and dispossession echo in the present: in contrast to an account of murders, the film presents a desolate desert landscape or the frank and innocent smiles of teenagers. The promises of riches offered by colonized Algeria are accompanied by shots of an opulent, Haussmann-style Parisian city centre. We are plunged into a reflection on the nature of this extraordinary violence, through a pictorial meandering into contemporary Algeria, entwined with archival extracts heard in an interplay of convergence and divergence. The piling up of texts brings to light both the ethnocentric and racist imaginary and the cold logic of economic exploitation that dictated the colonization of Algeria and its irreversible consequences, from which Algerian society still suffers today. 　　源自：https://fidmarseille.org/en/film/de-la-conquete-about-the-conquest/

Michel Piccoli stars as an amorous dentist whose philandering seemingly knows no bounds. He is no sooner shooing such lovelies as Anna Karina and Elsa Martinelli out the back door than he is welcoming such "new blood" as Joanna Shimkus into his living room. When Shimkus demands a commitment, Piccoli runs home movies of his past girlfriends, insisting all the while that he has forgotten them and that Joanna is the only woman in his life. The very next day he's running his movies for still another woman, and the song continues. De L'Amour is based on an 1822 novel by Stendhal (who would have been visionary indeed if he'd included all those home movies!)