影片源自真实故事改编—广州一所普通的乡村小学，在没有跳绳经验的老师带领下，短短一年时间就勇夺跳绳世界冠军，此后几年共培养出33名世界冠军、打破10多项跳绳世界纪录，成为各大媒体争相报道的宠儿。他们的励志故事，鼓舞着更多后来者，向梦想出发。

双胞胎兄弟江海、江河是村里的儿童，兄弟俩平时跟着爷爷生活。后来，爷爷病倒了。有一天，因为雨天泥泞，他们的鞋子踩烂了，两个孩子连买鞋子的钱都没有。于是，他们想到了一个办法——报名跳绳队。只要成功进入跳绳队，就能免费领取一双新鞋子。这样一个朴素的心愿，让孩子与跳绳结下不解之缘。初来乍到，他们对跳绳还很陌生。日复一日的艰苦训练，感觉根本是上了“贼”船。原本他们的想法很简单：拿到鞋子就走。然而队里的要求却是，要当上正式队员才能获得鞋子。受到老队员的冷落和批评以及知道要面临严格的考核之后，双胞胎数次想要退出，但最终在教练与团队的温暖鼓励之下，江海、江河一直努力训练，再也没有想过放弃。与双胞胎兄弟一样，跳绳队里的不少孩子都来自一个特殊的家庭。宇翔是队里的“学霸”，在人人称羡的成绩背后，是他对离家出走的母亲的思念，以及对亲情的极度渴望；小琴成绩优异，但家人希望她出外打工贴补家用，小学毕业就面临辍学。在教练不抛弃、不放弃的带领之下，凭借着每天跳断一根绳的狠劲，这群山里的孩子走出大山、走向更广阔的世界。

贾加是一位有口吃的小孩，父母在一次事故中双亡，特工杜帝夫帝因受伤在医院认识了贾加，杜帝夫帝领养了贾加并教会他用唱歌的方式来表达。 　　杜帝夫帝被召回调查军火，不得不与贾加分离。贾加长大了，因观察分析能力超群，破解了一个个迷案，成为了小有名气的业余侦探，还因此与记者桑古塔相遇。 　　贾加和桑古塔从亚洲一路来到非洲去寻找自己的养父，一段冒险故事就此展开……

在美国长期采访的桃子(大竹忍)。半年的约定已过，又一年流逝···。夏天到了秋天,一直等候的良介(明石家秋刀鱼)没有得到桃子的任何消息。贞九郎(片冈鹤太郎)的介绍认识了高木(山下真司)以及美树(岩崎宏美)，一枝(手冢理美)，亮(冈安由美子 )···。打算忘记桃子，开始找寻新的恋爱的良介，在回家的渡轮上，与应该在美国的桃子突然相逢。桃子身边有位叫横山健(柳叶敏郎)的男人。男女7人，各自的秋天开始变动··· 　　第1回「再会」　第2回「揺れる心」　第3回「迷路」 　　第4回「昔の夢」　第5回「新しい恋」　第6回「地球滅亡の日 　　第7回「清洲橋」　第8階「妊娠」　第9回「嘘」< 　　第10回「二人」　最終回「離さない」

寅次郎的生母菊到访柴又，最终寅次郎与生母冰释前嫌。寅次郎再次出游，在沼津市遇上智商不高，但纯真可爱的花子。花子一个人在纺织工场工作，寅次郎出钱送花子回家乡津轻，临别时将自己东京的地址交给花子。到了樱花节，花子到来探望寅次郎。家人都关心寅次郎跟花子的恋情，当花子透露有下嫁寅次郎的意愿，寅次郎反而变得困惑。不久花子的监护人福田老师突然出现，还将花子带走。几天后，寅次郎搭上往津轻的公车离开。

7日7频道栏目的基本构架是以故事化的选题为主导，辅以生活服务类资讯信息。2012年停播。

Lord of the Frames: Kurt Kren 　　by Peter Tscherkassky 　　Translation: Elisabeth Frank-Großebner 　　reprinted from exhibition catalog, Kurt Kren at Wiener Secession, 1996 　　In 1964, "Wien Film" refused to print 6/64 Mama und Papa. When Kurt Kren handed in the original, the film grader said with an undertone of sympathy that, given the many cuts, one would not be able to make out anything, anyway. His worries were groundless: when Kren came to pick up the print, some people with flushed faces left the projection room, telling him to get out and never to come back again. A few months later, a similar scene took place at "Listo", where 9/64 O Tannenbaum was not accepted. Kren ultimately found a place that took his films, based on actions by Otto Muhl and Gunter Brus: a house on Peter Kaiser Gasse in Jedlersdorf, a neighborhood in the East of Vienna, on the other side of the river Danube. There, in the 21st district, on the most remote outskirts of town, films were developed and printed in self-made contraptions reminiscent of washing-machine drums. The man who ran the business single-handedly intimated that he was used to explicit images owing to customers from the blue movie scene. The facts that the credits in a few Kren works from those days are slightly out of place and that the name "Kren" next to the copyright sign goes beyond the edge of the frame can be explained in this context. On request, credits were in-house productions, but they were made with a camera that had no view finder, for which reason slipped boards were none too unusual. There were no objections to the films' content, formal and creative issues played a secondary role. 　　Be that as it may - the "© Kren" jutting out over the frame can easily be understood as a metaphor of the avant-garde and a harbinger of cinema outside the screen - Expanded Cinema. It is precisely during the "Jedlersdorf period" in his oeuvre that Kurt Kren demonstrates some of its best knacks to modern cinematography. 　　(Source: http://www.hi-beam.net/mkr/kk/kk-bio.... 　　http://www.ubu.com/film/kren.html

Lord of the Frames: Kurt Kren 　　by Peter Tscherkassky 　　Translation: Elisabeth Frank-Großebner 　　reprinted from exhibition catalog, Kurt Kren at Wiener Secession, 1996 　　In 1964, "Wien Film" refused to print 6/64 Mama und Papa. When Kurt Kren handed in the original, the film grader said with an undertone of sympathy that, given the many cuts, one would not be able to make out anything, anyway. His worries were groundless: when Kren came to pick up the print, some people with flushed faces left the projection room, telling him to get out and never to come back again. A few months later, a similar scene took place at "Listo", where 9/64 O Tannenbaum was not accepted. Kren ultimately found a place that took his films, based on actions by Otto Muhl and Gunter Brus: a house on Peter Kaiser Gasse in Jedlersdorf, a neighborhood in the East of Vienna, on the other side of the river Danube. There, in the 21st district, on the most remote outskirts of town, films were developed and printed in self-made contraptions reminiscent of washing-machine drums. The man who ran the business single-handedly intimated that he was used to explicit images owing to customers from the blue movie scene. The facts that the credits in a few Kren works from those days are slightly out of place and that the name "Kren" next to the copyright sign goes beyond the edge of the frame can be explained in this context. On request, credits were in-house productions, but they were made with a camera that had no view finder, for which reason slipped boards were none too unusual. There were no objections to the films' content, formal and creative issues played a secondary role. 　　Be that as it may - the "© Kren" jutting out over the frame can easily be understood as a metaphor of the avant-garde and a harbinger of cinema outside the screen - Expanded Cinema. It is precisely during the "Jedlersdorf period" in his oeuvre that Kurt Kren demonstrates some of its best knacks to modern cinematography. 　　(Source: http://www.hi-beam.net/mkr/kk/kk-bio.... 　　http://www.ubu.com/film/kren.html

律师亚历山大有机会得到他梦寐以求的工作。然而，有一天，他的人生彻底颠覆——他儿时向圣尼古拉斯许下的愿望，那些他早已遗忘的愿望，突然开始一一实现。

Rajiv and Varsha, a couple with a five-year-old son, Rahul, moves to a new flat where Varsha faces paranormal activities. Can Varsha fight against supernatural forces to save their dream house, or she decides to leave her house to save her family?