观察推理综艺，猜猜过着独特生活的名人的日常生活是真实还是设定。

Summer holiday is over. Nora begins sixth grade and is drawn to intrigues and doesn't really know what side she's on. Or wants to be on. On one hand she feels sorry for the bullied Karin, one the other hand she wants to be friends with tough Fanny and Sabina

片头是导演兼主演艾伯特·布鲁克斯坐在一个漂亮的办公室，介绍道《真实人生》和预告片都是3D的（一个善意的谎言），需要佩戴3D眼镜观看，或者向影院借红蓝玻璃纸（也都不存在），并且越说越激动，用手夸张地指着摄像头说：“电影可能拍的就是你！”甚至搞笑地把喝完的水泼向摄像机来“解渴”。最后看似没有关系乒乓球冠军布朗出现了，艾伯特邀请他留下来，自己则举起玻璃纸看他打球，然后情不自禁地说道：“天哪，看起来你就像是真实存在一样！

讲述的是一个平凡的家庭主妇洪善熙（崔真实饰）与初恋宋在彬（郑俊镐饰）相遇而发生的有趣的故事。剧中，洪善熙遇到初恋同窗宋在斌而感到非常高兴，但是为演艺生涯而把年龄少报7岁、使用假名的宋在斌并不为两个人的重逢感到开心……在两个人之间发生了各种充满趣味的小故事。

在患病前就决意切除健康的乳房？她是电台音乐主持人，24岁，神采奕奕，但有一个潜在的“死刑”威胁着她，她的14位女性亲戚都因癌症去世，医学测试的结果宣告了她的未来，如果她决意活下去，就必须做出最困难的决定——提前切除双乳。“我的乳房有机会置我于死地，我不想为此惴惴不安”，看她如何与命运进行艰难地抗争。

本剧是由瑞典国家电视台拍摄于2012年的电视剧，讲述了人与机器人的纠葛，反映了人对待机器人的态度，以及进化后的机器人对人类的态度。体现了人类贪婪的本性。

狐妖白逍借用灵珠闭关修炼，只差几天便可功德圆满，却被冒失少女夏葵一跤跌在他身上。白逍不仅修炼被打断，还被当萨摩耶送到宠物医院。宝贵灵珠，亦被夏葵拿走，打算摆到她的淘宝小店上当假古董卖。白逍追到小葵家，灵珠竟以小葵做了宿主，他欲杀夏葵而夺珠，却被夏葵做的红烧肉诱惑。而此时，白逍眼前的世界越来越让他惊奇，不仅红烧肉前所未见，还有电灯，微波炉，完全在其经验之外。原来白逍竟是一只唐朝的狐狸精，一觉醒来，人间已变成现代社会。这就是唐朝妖法遇到现代科技，纵使高冷范儿十足的白逍也露惊慌相。小葵看出他的疑惧和好奇，趁机骗得几日活命时间，以向单恋的学长表白。但令这对啼笑皆非冤家怎么也想不到的是，灵珠现世，竟悄然激活了冰冷都市丛林中无数匪夷所思的奇异妖灵，纷纷前来搅扰。为保灵珠不被抢走，白逍被迫当起小葵的贴身保镖。一个冷面唐朝狐少年，一个呆萌贪财少女，被迫生活在一起，经历这大都市中最诡异的阴谋以及最暖心的情感。

《Bravo My Life》讲述了电视台助理导演、准备七年还未能出道的演员，以及在电视台目中无人的绝对掌权者之间的故事。延政勋将在剧中饰演电视剧PD申东宇，郑柔美则将饰演一直未能升职的助理导演河度娜，显祐将在剧中饰演准备7年都未能出道的演员金范宇。

1997, 75 min., colour, BETACAM SP, Stereo The Japan Foundation, North Foundation, Pandora Co., Ltd (Japan) Special thanks to Hiroko Kodjima scenario: A. Sokurov camera: A. Fedorov sound: S. Moshkov editor: L. Semenova “My journey to your sorrowful country cannot finish… even here in Russia. I can't part with feelings which have captured me… as if my soul had been in search of Beauty and Kindness. If not — what for have I deserved this gift, this meeting… I have arrived in the twilight. The noise of the wind and my tiredness didn't let me fall asleep. I was lying on the floor, there was a small lamp at my head, the bedding had been thrown over the mat. I don't know why, but I began to think about the war, and the scenes of unknown life appeared before me from the past… or, perhaps, from the future; Somebody’s children… somebody's mothers… The summer was warm… Then the morning came, windy, cold and sunny… I examined the house cautiously. It was empty… Then, I remember, I turned back, having heard a creak. It seemed she had not yet noticed me… I decided to come nearer. I can remember well enough, how everything became interesting: walls, utensils, wind, light, sounds — all her life. We agreed that she would let me stay near her all the time All the hours and minutes that I could spend in her old house. I sat near her with her permission. And it was really necessary: I could contem­plate her to my heart's content.” Alexander Sokurov (from the author's text to the film) A myth about lost harmony, which is always with us, though we often cannot feel it, is further developed in this film by Alexander Sokurov. The material used here is concrete and, at first sight, quite fit for TV. The whole work is unhurried and detailed report from an old solitary house, lost in the mountains, in the village of Aska, prefecture Nara, Japan, where an old woman, whose name is Umeno Matshueshi, lives alone. But filmmaker's creative task is quite opposed to the TV information stream. It is not only because this subject, this person couldn't be of any interest for any TV crew in any country (and least of all, perhaps, in modern Japan). Sokurov's camera doesn't watch this character, doesn’t ask any questions, doesn’t surprise her, but extracts uninterrupted poetical image out of the trivial details of this physical reality, out of this extinct life and daily routine. The image is epic and lyrical at the same time. Refined simplicity of Japanese landscape, interior, a series of portraits are not a representation of “couleur local,” but only the sign of ideal technique of the ideal description, allowing to enter this life. The woman, who remains silent throughout the whole film, cooking and eating, kindling the fire and sewing, giving alms and combing her hair before us, recites in the final poem as a prayer: artless and sorrowful tanku about loneliness, about the constancy of losses and gainings. Sokurov shoots this unexpected stroke in his personage's portrait as a lyrical coda of his work.

流浪小猫小橘自幼遭母亲遗弃，艰难求生，还曾被野猫首领咬伤。保安大刘布设陷阱毒害流浪小动物，它救下的幼崽不幸遇害，负伤的小橘被医生救治，在此结识患病男孩豆豆。它终日守候病房，后续坏人恶行败露，小橘的特殊抗原能够救助豆豆，饱经磨难的小猫最终拥有归宿。