香港电视广播有限公司及韩国综合有线电视台CMB拍摄制作的时装爱情电视剧，由安信源及黄翠如领衔主演，该剧讲述韩国巨星和香港女摄影师之间跨越国境的命运般的爱情故事。

女子大生・文と軽いノリでセフレを続ける花屋店主・影沼。だが、それはある日呆気なく終わりを告げた。 　　泉は恋人・幹雄と町に越してきた。幹雄は昔ミュージシャンを夢見ていたが、今はチンピラで泉のヒモだった。スナックの従業員募集を見てやって来た泉を、ママ・真子は受け入れる。彼女は店の看板娘になり、常連客の影沼は、結婚間近で婚約者を事故で亡くし、後追いした妹に似た泉を何かと構うようになる。 　　影沼と真子は幹雄の思想を改めなくては、泉が幸せになれないと感じ始める。泉は彼に不満などないが、内心では昔の彼に戻って欲しいという願いもあった。幹雄も泉を心から愛している。彼女と幸せになろうと資金稼ぎのきっかけとなったのがヤクザだった。 　　近頃の町は、ヤクザの縄張り争いで物騒だった。ある日、兄貴分からうまい話が舞い込み、ヤバい仕事と理解しながら幹雄は了承した。 　　一週間ほど真子が留守のため、臨時のニューフェイス・紗英が来た。夫に風俗で働かされていた紗英と、死ぬ覚悟で最後の店に選び、客として来た高村。二人は惹かれ合う。真子が戻り、紗英は店から消えた。高村とのことで悩んでいたが、二人が上手くいってくれればいいと願う影沼たち。一方で、泉のために幹雄の行動を止めようとするが…。

7日7频道栏目的基本构架是以故事化的选题为主导，辅以生活服务类资讯信息。2012年停播。

Lord of the Frames: Kurt Kren 　　by Peter Tscherkassky 　　Translation: Elisabeth Frank-Großebner 　　reprinted from exhibition catalog, Kurt Kren at Wiener Secession, 1996 　　In 1964, "Wien Film" refused to print 6/64 Mama und Papa. When Kurt Kren handed in the original, the film grader said with an undertone of sympathy that, given the many cuts, one would not be able to make out anything, anyway. His worries were groundless: when Kren came to pick up the print, some people with flushed faces left the projection room, telling him to get out and never to come back again. A few months later, a similar scene took place at "Listo", where 9/64 O Tannenbaum was not accepted. Kren ultimately found a place that took his films, based on actions by Otto Muhl and Gunter Brus: a house on Peter Kaiser Gasse in Jedlersdorf, a neighborhood in the East of Vienna, on the other side of the river Danube. There, in the 21st district, on the most remote outskirts of town, films were developed and printed in self-made contraptions reminiscent of washing-machine drums. The man who ran the business single-handedly intimated that he was used to explicit images owing to customers from the blue movie scene. The facts that the credits in a few Kren works from those days are slightly out of place and that the name "Kren" next to the copyright sign goes beyond the edge of the frame can be explained in this context. On request, credits were in-house productions, but they were made with a camera that had no view finder, for which reason slipped boards were none too unusual. There were no objections to the films' content, formal and creative issues played a secondary role. 　　Be that as it may - the "© Kren" jutting out over the frame can easily be understood as a metaphor of the avant-garde and a harbinger of cinema outside the screen - Expanded Cinema. It is precisely during the "Jedlersdorf period" in his oeuvre that Kurt Kren demonstrates some of its best knacks to modern cinematography. 　　(Source: http://www.hi-beam.net/mkr/kk/kk-bio.... 　　http://www.ubu.com/film/kren.html

Lord of the Frames: Kurt Kren 　　by Peter Tscherkassky 　　Translation: Elisabeth Frank-Großebner 　　reprinted from exhibition catalog, Kurt Kren at Wiener Secession, 1996 　　In 1964, "Wien Film" refused to print 6/64 Mama und Papa. When Kurt Kren handed in the original, the film grader said with an undertone of sympathy that, given the many cuts, one would not be able to make out anything, anyway. His worries were groundless: when Kren came to pick up the print, some people with flushed faces left the projection room, telling him to get out and never to come back again. A few months later, a similar scene took place at "Listo", where 9/64 O Tannenbaum was not accepted. Kren ultimately found a place that took his films, based on actions by Otto Muhl and Gunter Brus: a house on Peter Kaiser Gasse in Jedlersdorf, a neighborhood in the East of Vienna, on the other side of the river Danube. There, in the 21st district, on the most remote outskirts of town, films were developed and printed in self-made contraptions reminiscent of washing-machine drums. The man who ran the business single-handedly intimated that he was used to explicit images owing to customers from the blue movie scene. The facts that the credits in a few Kren works from those days are slightly out of place and that the name "Kren" next to the copyright sign goes beyond the edge of the frame can be explained in this context. On request, credits were in-house productions, but they were made with a camera that had no view finder, for which reason slipped boards were none too unusual. There were no objections to the films' content, formal and creative issues played a secondary role. 　　Be that as it may - the "© Kren" jutting out over the frame can easily be understood as a metaphor of the avant-garde and a harbinger of cinema outside the screen - Expanded Cinema. It is precisely during the "Jedlersdorf period" in his oeuvre that Kurt Kren demonstrates some of its best knacks to modern cinematography. 　　(Source: http://www.hi-beam.net/mkr/kk/kk-bio.... 　　http://www.ubu.com/film/kren.html

律师亚历山大有机会得到他梦寐以求的工作。然而，有一天，他的人生彻底颠覆——他儿时向圣尼古拉斯许下的愿望，那些他早已遗忘的愿望，突然开始一一实现。

Rajiv and Varsha, a couple with a five-year-old son, Rahul, moves to a new flat where Varsha faces paranormal activities. Can Varsha fight against supernatural forces to save their dream house, or she decides to leave her house to save her family?

山部健太與朋友們一起去露營，他的目標是從溪流釣到今年最早的大馬哈魚．突然，一名少女出現在他的眼前，彷彿是從流行主雜誌坎出來的美麗少女對健太說：下次約個時間見面吧！並留下電話號碼給他．．．

山部健太與朋友們一起去露營，他的目標是從溪流釣到今年最早的大馬哈魚．突然，一名少女出現在他的眼前，彷彿是從流行主雜誌坎出來的美麗少女對健太說：下次約個時間見面吧！並留下電話號碼給他．．．

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