本片藉由在台緬甸僑生的一封家書，傳達出思鄉與思家的情緒。

本片藉由在台緬甸僑生的一封家書，傳達出思鄉與思家的情緒。

The Power of Emotion explains that emotion isn't to be confused with sentimentality. Emotion is ancient and more powerful than any art form. The film looks at young couples who run into difficulties as they try to translate their experiences of love into clear decision-making. A woman who has shot her husband provides a judge with a puzzle. Those who love can bring the dead back to life by means of co-operation. That's the focus of the opera, "The Power Plant of Emotions" and the "Opera of the 20th Century" cinema. 　　Alexander Kluge: The Power of Feeling 　　When I started working on The Power of Feeling, I was not in a rational state. I did not say, I have a subject and now I will make a film about it. Instead I was spellbound and observed in my direct surroundings, for example, how feelings move. I have not really dealt with the theme of my mother's death and the fact that she was the one who taught me "how feelings move." Nor have I dealt with how she died. That was an entire palette of feelings: "All feelings believe in a happy end," and everyone believes tacitly that they will live forever: The entire palette is somehow optimistic, a positive attitude towards life having been put on the agendaas long as she was young, as long as her body held out, from one day to the next she collapsed. She just suddenly collapsed, like in an opera where disaster takes the stage in the fifth act. It felt as if I had observed an air raid or a disaster. 　　The film The Power of Feeling is not about feelings, but rather their organization: how they can be organized by chance, through outside factors, murder, destiny; how they are organized, how they encounter the fortune they are seeking.What is all this organization of feelings about? Generally feelings tend to be a dictatorship. It is a dictatorship of the moment. The strong feeling I am having right now suppresses the others. For thoughts this would not be the case. One thought attracts others like a magnet. People therefore need affirmation by other people to be sure about their own feelings (to counteract the acquisition of their feelings through outside forces). Through the interaction of many people, for example, in public, the various feelings also have a magnetic attraction to one another just like thoughts do. Feelings communicate through their manifestation in public. 　　The cinema is the public seat of feelings in the 20th century. The organization is set up thusly: Even sad feelings have a happy outcome in the cinema. It is about finding comfort: In the 19th century the opera house was the home to feelings. An overwhelming majority of operas had a tragic end. You observed a victim. 　　I am convinced that there is a more adventuresome combination: Feelings in both the opera and traditional cinema are powerless in the face of destiny's might. In the 20th century feelings barricaded themselves behind this comfort, in the 19th century they entrenched themselves in the validity of the lethal seriousness.

The Power of Emotion explains that emotion isn't to be confused with sentimentality. Emotion is ancient and more powerful than any art form. The film looks at young couples who run into difficulties as they try to translate their experiences of love into clear decision-making. A woman who has shot her husband provides a judge with a puzzle. Those who love can bring the dead back to life by means of co-operation. That's the focus of the opera, "The Power Plant of Emotions" and the "Opera of the 20th Century" cinema. 　　Alexander Kluge: The Power of Feeling 　　When I started working on The Power of Feeling, I was not in a rational state. I did not say, I have a subject and now I will make a film about it. Instead I was spellbound and observed in my direct surroundings, for example, how feelings move. I have not really dealt with the theme of my mother's death and the fact that she was the one who taught me "how feelings move." Nor have I dealt with how she died. That was an entire palette of feelings: "All feelings believe in a happy end," and everyone believes tacitly that they will live forever: The entire palette is somehow optimistic, a positive attitude towards life having been put on the agendaas long as she was young, as long as her body held out, from one day to the next she collapsed. She just suddenly collapsed, like in an opera where disaster takes the stage in the fifth act. It felt as if I had observed an air raid or a disaster. 　　The film The Power of Feeling is not about feelings, but rather their organization: how they can be organized by chance, through outside factors, murder, destiny; how they are organized, how they encounter the fortune they are seeking.What is all this organization of feelings about? Generally feelings tend to be a dictatorship. It is a dictatorship of the moment. The strong feeling I am having right now suppresses the others. For thoughts this would not be the case. One thought attracts others like a magnet. People therefore need affirmation by other people to be sure about their own feelings (to counteract the acquisition of their feelings through outside forces). Through the interaction of many people, for example, in public, the various feelings also have a magnetic attraction to one another just like thoughts do. Feelings communicate through their manifestation in public. 　　The cinema is the public seat of feelings in the 20th century. The organization is set up thusly: Even sad feelings have a happy outcome in the cinema. It is about finding comfort: In the 19th century the opera house was the home to feelings. An overwhelming majority of operas had a tragic end. You observed a victim. 　　I am convinced that there is a more adventuresome combination: Feelings in both the opera and traditional cinema are powerless in the face of destiny's might. In the 20th century feelings barricaded themselves behind this comfort, in the 19th century they entrenched themselves in the validity of the lethal seriousness.

胡琳初恋男友杜峰在他们热恋时不辞而别，选择了出国，两人各自结婚，之后杜峰回来找胡琳，并错手杀了胡琳的丈夫，胡琳为了杜峰的前途自己认了罪。现在杜峰又继续纠缠，并不择手段，阻止胡琳和现男友秦越在一起，杜峰妻子了解情况后，公然让胡琳在公司出丑，甚至陷害秦越。

皇后无法生育的事实成为了皇帝的一块心病，暗地里，他派出了手下张伯伦（乔纳森•莱斯•梅耶斯 Jonathan Rhys Meyers 饰），寻找年轻健康的女性替自己传宗接代。张伯伦绑架了名叫沙巴（拉蒂西亚•多瑞拉 Leticia Dolera 饰）的女孩，将她囚禁了起来，逼迫她学习如何成为一名皇后。然而，在此过程中，张伯伦却爱上了善良美丽的沙巴。 　　张伯伦知道沙巴对自己恨之入骨，早就有另外一个男人占据了她的心。为了让沙巴高兴，张伯伦将创造机会让沙巴和自己心爱的男人幽会。皇后知道了沙巴的存在，派出杀手暗杀沙巴，张伯伦带着沙巴踏上逃亡的旅途，与此同时，沙巴的腹中怀上了孩子。

皇后无法生育的事实成为了皇帝的一块心病，暗地里，他派出了手下张伯伦（乔纳森•莱斯•梅耶斯 Jonathan Rhys Meyers 饰），寻找年轻健康的女性替自己传宗接代。张伯伦绑架了名叫沙巴（拉蒂西亚•多瑞拉 Leticia Dolera 饰）的女孩，将她囚禁了起来，逼迫她学习如何成为一名皇后。然而，在此过程中，张伯伦却爱上了善良美丽的沙巴。 　　张伯伦知道沙巴对自己恨之入骨，早就有另外一个男人占据了她的心。为了让沙巴高兴，张伯伦将创造机会让沙巴和自己心爱的男人幽会。皇后知道了沙巴的存在，派出杀手暗杀沙巴，张伯伦带着沙巴踏上逃亡的旅途，与此同时，沙巴的腹中怀上了孩子。

一名波兰男特工和一名俄罗斯女间谍用烛台偷运情报到圣彼得堡。在追逐偷来的烛台时，他们发现了彼此的身份并坠入爱河。

一名波兰男特工和一名俄罗斯女间谍用烛台偷运情报到圣彼得堡。在追逐偷来的烛台时，他们发现了彼此的身份并坠入爱河。

13 对选手，每组其中一位是演艺界明星，另一位可以是他选择的任何人，无论是同事、朋友还是家人。参加者将开始 “中国大冒险“，考验时间、耐力和智慧，做出艰难的决定，并有机会展示自己最好的人性品质。通过测试，参与者可以了解中国的历史和传统，并尝试与当地居民建立沟通。每期节目都会有一对组合离开，最快到达终点的组合获胜。节目的获胜者将获得100万人民币，即1400万卢布的奖金。