This experimental film is based on a novella in which Ahn Jung-hyo attempts to capture the psychology of a woman who misinterprets a letter from her husband. Staged in 42.9 square meters thoroughly by the theatrical conventions, this film seems a Korean version of Lars Von Trier’s .

卢梭1844年生於法国西北部的拉瓦尔市，幼年家境并不富裕，1871年进入巴黎市政府海关处担任收税员，而终其一生，就是担任这个安份的公务员；他的闲暇嗜好，就是创作绘画，曾经获准在罗浮宫美术馆临摹。曾经参加官方的沙龙展，却未曾入选；但他仍自得其乐的不断创作。 　　卢梭於 1855 年从巴黎一所收费站中退休后，始全力作画，因此博得「关税员」的称号。别人常把他归为「原始的」、「素人的」、「周日画家」之列，他却光明正大地认为自己是不折不古的专业画家。 　　1891年起常至植物园观赏温室里的热带景物，创作了许多充满幻想式的作品，如「睡眠中的吉普赛女郎」、「梦」等，1893年退休之后，生活清苦，却全心投入绘画创作；他充满想像的作品，却获得了诗人的赞赏及毕加索等前卫画家所推崇。 　　卢梭画的主题包罗万象，除了巴黎市郊，还有手法率真直接的人像，瑰丽的寓言性作品，花卉、尤其是一批富异国情调的大幅幻想式作品，这些作品是他常逛巴黎的公园、植物园、动物园所激发出来的。 　　卢梭创作热衷于创造一个幻想的世界，他的艺术很难归到哪一派，但他的画法属超现实主义。他似乎总是生活在一个梦幻的世界，这种与生俱来的爱幻想的天真性格，在他的日常生活中也充满天真烂漫，他的画具有原始童话般的魅力。

沈天天在李氏制衣老总李曼丽的资助下学习设计，为报答曼丽，她为曼丽之女唐果儿做了“影子设计师”，也和果儿成为无话不说的闺蜜。曼丽为了让李氏制衣走向世界，决意让果儿和赵氏集团的继承人赵明远相亲，以壮大李氏。不料，果儿爱上了一个不知名的“男神”，求天天替自己去相亲。没想到天天和赵明远真的相爱了，而果儿发现自己的男神竟然也是赵明远。为成全果儿，天天痛苦地离开。果儿如愿以偿嫁给了赵明远，陪嫁的还有天天以她的名义设计的品牌“果儿”。但果儿因为嫉妒，要消灭天天的所有痕迹，卖掉了“果儿”。此时李氏爆发丑闻：赵明远并非赵氏集团继承人，竟只是赵兰阁领养的小乞丐。赵兰阁此举是为了彻底击溃李氏制衣集团。而赵兰阁真正的儿子，竟然是暗恋果儿的王野。赵明远看清赵兰阁的真实面目，他愤而辞职。他邀请天天联手，开始了“中国制造”的振兴之路。李氏集团崩溃，曼丽绝望之下离开了人世，果儿把不幸的根源归咎于天天，失去理智的她决意专注于设计，要与天天一决高下。两个曾经最要好的闺蜜，却成为了最了解对方的对手。但睿智的赵明远觉察到，李氏与赵氏两家集团一直以来的的恶性竞争，竟然是境外资本为打压中国设计业而故意挑拨所致。赵明远决意粉碎境外资本的卑鄙计划。最终，通过赵明远的努力，果儿幡然悔悟，境外资本的计划彻底失败。果儿与天天两人联手，将“中国制造”的时尚品牌推向世界。

沈天天在李氏制衣老总李曼丽的资助下学习设计，为报答曼丽，她为曼丽之女唐果儿做了“影子设计师”，也和果儿成为无话不说的闺蜜。曼丽为了让李氏制衣走向世界，决意让果儿和赵氏集团的继承人赵明远相亲，以壮大李氏。不料，果儿爱上了一个不知名的“男神”，求天天替自己去相亲。没想到天天和赵明远真的相爱了，而果儿发现自己的男神竟然也是赵明远。为成全果儿，天天痛苦地离开。果儿如愿以偿嫁给了赵明远，陪嫁的还有天天以她的名义设计的品牌“果儿”。但果儿因为嫉妒，要消灭天天的所有痕迹，卖掉了“果儿”。此时李氏爆发丑闻：赵明远并非赵氏集团继承人，竟只是赵兰阁领养的小乞丐。赵兰阁此举是为了彻底击溃李氏制衣集团。而赵兰阁真正的儿子，竟然是暗恋果儿的王野。赵明远看清赵兰阁的真实面目，他愤而辞职。他邀请天天联手，开始了“中国制造”的振兴之路。李氏集团崩溃，曼丽绝望之下离开了人世，果儿把不幸的根源归咎于天天，失去理智的她决意专注于设计，要与天天一决高下。两个曾经最要好的闺蜜，却成为了最了解对方的对手。但睿智的赵明远觉察到，李氏与赵氏两家集团一直以来的的恶性竞争，竟然是境外资本为打压中国设计业而故意挑拨所致。赵明远决意粉碎境外资本的卑鄙计划。最终，通过赵明远的努力，果儿幡然悔悟，境外资本的计划彻底失败。果儿与天天两人联手，将“中国制造”的时尚品牌推向世界。

《花吃了那女孩》陈宏一导演最新作品，找来新锐作家神小风当编剧，许玮宁担纲女主角，和莫子仪搭档演出。人生无法设计，爱情却需要算计。设计公司的资深经理霸子想追回前女友Doris，于是安插她回公司担任企划，都知道人算不如天算，但原来人人都在算，小小办公室里合纵连横，办公桌下明争暗斗，痴缠狂爱。嫉妒的同事、有所图谋的富二代、想利用美色的老板，七个人，七种爱，辐射出难理难分人际关系。茶水间里过招、小街弄里相追逐，这座城到处有人相遇，爱不爱没道理，日行小恶，小额捐爱，究竟要怎样算计，才能住进你心底？以办公室里人际关系为观景窗，照看爱情里聚合离散各种充满可能性的配对，缩影现代男女日常小心机，也延续导演陈宏一一贯对城市与记忆的关注。把爱情玩得那么疯，玩得那么疯狂，才叫爱情。

After the death of his wife, former civil servant Henri Rousseau takes up painting full time. Coming across as a rarified boob, Russell's version of Rousseau could best be described as an accidental master. Most of his canvases are crackpot versions of reality as seen through the eyes of a naïve painter, and his loneliness and lack of worldly perspective really amplifies his applied amateurishness. Russell treats this tale as sadly comic, and there are many jokes and jibes as Rousseau's expense. In fact, there is such a lighthearted atmosphere here that when we finally view the artist's best known masterpiece - "The Sleeping Gypsy" - it comes as quite a shock. Indeed, many of Russell's films purposely demystify the legendary, showing them just as capable of flaws and foibles as us mere humans. Indeed, as he continued on in his career, the filmmaker would make such an approach his main raison d'etra. Much of his work here can be seen as the basis for Women in Love, Tommy, and his ultimate classical rock god goof, Listzomania. 　　A dramatised portrait of the painter Henri Rousseau (1844-1910), known popularly as 'Le Douanier' because of his day job as a Customs clerk (he never reached the level implied by the nickname), both the film's best-known title and the one that actually appears on screen (Henri Rousseau: Sunday Painter) refer to the fact that his art had to be produced in his spare time, even after retirement. 　　Rousseau is played by the painter James Lloyd, the subject of an earlier Ken Russell Monitor documentary whose own career as a misunderstood naïve painter had many similarities. As Russell later told his biographer John Baxter, "He helped a lot with the atmosphere and the actors, because professionals have to adopt a different attitude when they're with someone like that. They can't do their 'acting' bit." 　　It was Russell's first fully dramatised biopic, without either the restrictions imposed by Monitor's former editor Huw Wheldon or the complex film-within-a-film framework of The Debussy Film. Here, the actors use their own voices (Lloyd's Cheshire accent neatly paralleling Rousseau's provincial Breton) or, in Annette Robertson's case, are dubbed by a male voice to create an unsettlingly androgynous Alfred Jarry. The film also reunited Russell with Melvyn Bragg and Oliver Reed, who wrote and delivered the understated commentary. 　　Given Russell's own battles with both critics and producers, it's tempting to assume that Always on Sunday is exorcising personal demons, as the film is both by and about artists who operate on instinct, frequently puting them at odds with the expectations of the mainstream establishment. Although Russell had had a much easier ride than Rousseau (at least up to this point), his work had already undergone much criticism and creative interference.

该剧为李炳宪导演首度执导的电视台播出的电视剧，也是继网剧《积极的体质》之后的又一尝试。据李炳宪导演介绍，“该剧讲述了三十所多岁的女性朋友们的工作和恋爱琐碎日常”。

该剧为李炳宪导演首度执导的电视台播出的电视剧，也是继网剧《积极的体质》之后的又一尝试。据李炳宪导演介绍，“该剧讲述了三十所多岁的女性朋友们的工…

“阿麦”是一名大四的电子工程师学生，他是也一名汽车安全系统天才。这是因为阿麦的父亲“涛叔”，一家汽车修理店的老板，在支持他。阿麦是一个很有爱心很关心家庭的男人，他没有妈妈，只有爸爸和弟弟一家三人。他总是为家庭做贡献，包括为弟弟阿猛献血。阿猛一名顽固的高中生，患有血小板疾病，这意味着当他受伤时很难止血，阿麦总是帮助他，处处让着她。阿麦买地球仪时第一次遇到年轻女子“小盼”。他帮助小盼的父亲打开车门取钥匙，两人互相有好感，阿麦将地球仪送给了小盼。阿麦因为学业出众，在学校也是一位不可多得的电子工程天才，在学校发布了一个反偷车的视频，偷车贼“阿多”和“阿眉”看到了阿麦关于偷车的视频剪辑，被阿麦的才华深深吸引，打算将其招入自己的团伙。

年轻帅气的Cho（Tomo Visava Thaiyanont饰）不仅仅带着痞气，喜欢在女生面前展现自我，而Yiwha（Maengmum Pimnitchakun Bumrungkit）一直认为他是Gay，在不知不觉的挑逗中，Cho已经对Yiwha产生了好感，Korn（Max Nattapol Diloknawarit饰）和Kncok（Tul Pakorn Thanasrivanitchai饰）本是一对未公开出柜的男同志情侣，因为Cho的出现，Korn总以为自己的男朋友Knock出轨，于是拜托Yiwha去搞搞清楚事实，Cho最后是选择了Yiwha还是Knock呢。三个男生和一个恶魔女生的爱情故事。