As professional clowns Tito and Simon are traveling, they happen upon an abandoned child, whom they take in and name Simonetta. When Simonetta is older, she becomes a circus performer herself. One day she is looking for roses, and climbs into the garden of Count Luigi Ravelli. The count becomes infatuated with her, but she leaves as soon as possible. Sometime later, Ravelli consults a doctor about his fits of uncontrollable laughter, and there he meets Tito, who has come to seek help for his fits of uncontrollable weeping. The two decide to help each other, and they establish a friendship, but problems arise when they realize that they are both in love with Simonetta.

As professional clowns Tito and Simon are traveling, they happen upon an abandoned child, whom they take in and name Simonetta. When Simonetta is older, she becomes a circus performer herself. One day she is looking for roses, and climbs into the garden of Count Luigi Ravelli. The count becomes infatuated with her, but she leaves as soon as possible. Sometime later, Ravelli consults a doctor about his fits of uncontrollable laughter, and there he meets Tito, who has come to seek help for his fits of uncontrollable weeping. The two decide to help each other, and they establish a friendship, but problems arise when they realize that they are both in love with Simonetta.

人気コーナー「胸キュンスカッと」に登場する2人。今回は、男友達と仲の良い不器用な“お笑いキャラ女子”の恋模様を描いた青春ラブストーリー「笑う門には恋来たる」をお届け。 　　主人公の女子高生を演じる清原は、2017年ブレイクが期待される注目女優。関西出身の彼女のナチュラルでキュートな“関西弁”にも注目だ。

1979年，中央新闻纪录电影制片厂出品了一部很有意思的纪录片《笑》。影片记录了“文革”之后崛起的一大批优秀相声段子，成为那一特定时代人们文化生活和精神生活的一个缩影。

新垣结衣在上海拍摄的心情短剧。新垣结衣一人分饰两角，讲说她独自到上海旅行，偶遇与自己长相一模一样的女生

The fear of being overwhelmed by the outside world can almost litterally make you lose your head...

A diary film about a relationship between a man (Alain Cavalier) and a woman, told entirely through voice-overs by the two participants, spoken over largely static images (of household objects, animals, parts of the body, rooms, landscapes etc.). At times an emotional direction emerges (an articulation of love, loss, frustration), then it retreats. At times the film seems to be about its own making; at others it seems merely to drift. 　　Imdb Review: Alain Cavalier's latest film is deceptively simple and yet revolutionary because it seems to stand outside the boundaries of narrative and documentary filmmaking. One could describe "La Rencontre" as a cinematic diary--a home movie that documents the filmmaker and his muse during the course of their relationship. But unlike most movies the human subjects here are never photographed in whole, just partially. This brave new work is as much about Cavalier's object of desire, that is, his lover as it is about the medium that gives expression to his love. It is conceived as one part confessional and one part discourse on the metaphysics of love and cinema. The cinema, for Cavalier, is like a two-way mirror that records images while reflecting those images back onto itself. Subject and object appear to mirror each other's identity until they assume new personae in the process. 　　The immediate challenge for Cavalier, then, is cinema's objective gaze: the ability of the camera to record the physical nature of reality. But Cavalier's chief interest is just the opposite. He wants to demonstrate the possibility of a new cinema: one that evolves out of concealment and subterfuge. This cinema deemphasizes the human landscape and dislocates the image from its voice. It focuses inward rather than outward, and chooses to explore the intangible and the abstract over the tactile and the concrete. 　　Appropriately, Cavalier's cine-diary unfolds like an open book: his twin loves (muse and cinema) are illuminated through a series of tableaux filled with close-up objects which are brought vividly to life by the imagination and the transfigurative power of the cinema. It is as if these everyday objects have become the lovers' collective memories saturated with the emotions and energy of life. In short these objects have assumed a life of their own becoming humanized and perhaps immortalized in the process. After all isn't this precisely the paradox of cinema--the ability to resurrect inanimate objects, to bring them back to life at 24 frames per second?

由笑果文化和人民网上海频道联合出品的脱口秀行业全景纪录片《“见笑”——笑有引力》，历时八个月，遍访近百位喜剧演员、编剧、导演、幕后团队，全景式捕捉行业重要事件和焦点人物，揭开帷幕之后的笑声之源。脱口秀到底是什么？他们如何定义它？脱口秀如何落地生根，又是如何茁壮成长？演员和观众、演员和演员之间，如何遇到彼此，治愈彼此？一座座孤岛何以连成群岛？困境永远在，我们又将如何往前走？五集纪录片可能没办法给你所有答案，但可以把幕布一角拉开，带你从台前走到幕后，从行业的一隅走进一群人的内心世界。

由笑果文化和人民网上海频道联合出品的脱口秀行业全景纪录片《“见笑”——笑有引力》，历时八个月，遍访近百位喜剧演员、编剧、导演、幕后团队，全景式捕捉行业重要事件和焦点人物，揭开帷幕之后的笑声之源。脱口秀到底是什么？他们如何定义它？脱口秀如何落地生根，又是如何茁壮成长？演员和观众、演员和演员之间，如何遇到彼此，治愈彼此？一座座孤岛何以连成群岛？困境永远在，我们又将如何往前走？ 五集纪录片可能没办法给你所有答案，但可以把幕布一角拉开，带你从台前走到幕后，从行业的一隅走进一群人的内心世界。

#电视剧灯花笑#筹备 　　根据(千山茶客)同名小说改编 　　#灯花笑#主要讲述了裴云暎接收到命令调查京中世宦家族接连出事的事情，主要调查对象就是仁心医馆的医女，但是两个人在调查案件过程中发生情愫，共同面对未来的故事。