12岁的女孩霍莉（祖蒂·弗兰 Jodelle Ferland 饰）从收养自己的瑞根家中逃出后，遇到了一个名叫乔西（茜茜·斯派塞克 Sissy Spacek 饰）的女人。乔西是一位充满爱心的退休教师，曾教授艺术，愿意接纳霍莉。随着两人的相处，霍莉在乔西的鼓励下，通过绘画表达内心深处的情感，尤其是她对家的渴望。乔西用她的温暖和关爱慢慢融化了霍莉的心，给予了她久违的安全感和爱。 　　然而，随着时间的推移，乔西的健忘症日渐严重，原本由乔西照顾霍莉的局面悄然发生了变化，霍莉开始承担起照顾乔西的责任。两人在互相依偎的日子中，霍莉渐渐领悟到了真正的家庭意义。她学会了爱与责任，感受到那种无条件的关怀和支持，最终，两人形成了深厚的情感纽带，让霍莉体会到家庭不仅是一个住所，更是心灵的港湾。

Romantic comedy about a pair of clandestine lovers in a London-Spain tryst.

故事发生在1945年，抗日战争刚刚结束，全世界都洋溢着重回和平的喜悦。茜斯特护士（帕德里夏·妮尔 Patricia Neal 饰）的病房里转来了一个名叫麦克劳拉（理查德·托德 Richard Todd 饰）的特殊病人，他被弹片击中的肾脏，时日无多，而茜斯特护士的工作并不是使他回复健康，而是希望他能够在快乐和温暖之中离开人世。 　　麦克劳拉从小就失去了父母沦为孤儿，爱在他颠沛流离的生命中极为稀缺。麦克劳拉不懂得如何去爱，也不懂得如何接受别人对他的爱，因此，对于茜斯特护士的关怀，麦克劳拉总是拒之于千里之外。随着时间的推移，锲而不舍的茜斯特护士终于融化了麦克劳拉内心里的坚冰。

故事发生在1945年，抗日战争刚刚结束，全世界都洋溢着重回和平的喜悦。茜斯特护士（帕德里夏·妮尔 Patricia Neal 饰）的病房里转来了一个名叫麦克劳拉（理查德·托德 Richard Todd 饰）的特殊病人，他被弹片击中的肾脏，时日无多，而茜斯特护士的工作并不是使他回复健康，而是希望他能够在快乐和温暖之中离开人世。 　　麦克劳拉从小就失去了父母沦为孤儿，爱在他颠沛流离的生命中极为稀缺。麦克劳拉不懂得如何去爱，也不懂得如何接受别人对他的爱，因此，对于茜斯特护士的关怀，麦克劳拉总是拒之于千里之外。随着时间的推移，锲而不舍的茜斯特护士终于融化了麦克劳拉内心里的坚冰。

韩国SBS于2017年11月22日起播出的特别剧，由《戏子》李光英导演执导与徐仁作家合作打造。此剧讲述史无前例的法院不定时炸弹，不懂变通的固执法官李静珠，因为哥哥被扣上莫须有的杀人罪名、甚至最终被杀害，决定为了还哥哥清白而四处奔波奋战的故事。

수많은 먹킷리스트 맛집 식당의 베스트 메뉴 사이에서 길을 잃은 식객들을 위해 판사단과 변호인단 출연자들이 법정에 등장해 판사단의 예리한 맛 평가와 변호인단의 치열한 레시피 변론으로 최강 메뉴를 가리는 프로그램

残唐乱世，瘟疫横行，传言妖女吴双化为邪祟祸害人间。然而，吴双的哥哥不良人吴令，从不相信自己善良的妹妹会是所谓妖女，他决心以缝尸还魂的秘术，复活被斩首的妹妹，在暗影涌动的瘟神庙中，设下诡局，审判真正的恶人，求一份清白与公道。

it was interesting to see the acrobatic Japanese actors of the Tenjosajiki company in Shuji Terayama’s Directions to servants. The title and some of the text were taken from Swift’s satire, but the main inspiration seemed to come from Genet’s Les bonnes. Multiplying the maids into a large cast of servants, male and female, who take it in turns to imitate the master, Tereyama has physicalized and partly mechanized the action. Domination is imposed partly through machines—we see a man submitting to an imperious voice on a tape recorder, lowering his trousers and climbing inside a sadistic machine that beats his bare buttocks. 　　The ingenuity, the sadism and the offbeat humour are all characteristic of the production. The main cruelty to the audience was in the over-amplification of J.A. Seazer’s music. I sat with my hands over my ears for a lot of the time. The visual assault was almost equally strong, and some of the theatrical imagery was quite unlike anything that had been seen in this country. In one meticulously choreographed sequence the servant playing at being master throws a bone to a succession of servants who play at being dogs. In another, a servant trying to steal food from a cupboard is terrified to find that it is like a puzzle: each panel conceals a face that sings at him accusingly, and he can silence it only by sliding a panel that reveals another singing face.

it was interesting to see the acrobatic Japanese actors of the Tenjosajiki company in Shuji Terayama’s Directions to servants. The title and some of the text were taken from Swift’s satire, but the main inspiration seemed to come from Genet’s Les bonnes. Multiplying the maids into a large cast of servants, male and female, who take it in turns to imitate the master, Tereyama has physicalized and partly mechanized the action. Domination is imposed partly through machines—we see a man submitting to an imperious voice on a tape recorder, lowering his trousers and climbing inside a sadistic machine that beats his bare buttocks. 　　The ingenuity, the sadism and the offbeat humour are all characteristic of the production. The main cruelty to the audience was in the over-amplification of J.A. Seazer’s music. I sat with my hands over my ears for a lot of the time. The visual assault was almost equally strong, and some of the theatrical imagery was quite unlike anything that had been seen in this country. In one meticulously choreographed sequence the servant playing at being master throws a bone to a succession of servants who play at being dogs. In another, a servant trying to steal food from a cupboard is terrified to find that it is like a puzzle: each panel conceals a face that sings at him accusingly, and he can silence it only by sliding a panel that reveals another singing face.

父亲包著石膏躺在客厅沙发，不愿卸下患者的身份，胜文在驾训班教练车内盯著一旁的教练，他不想面对家裡以及不断在逃避的父亲，但似乎也无法面对身旁这位教练，渐渐的，胜文融入了他父亲的倒影。