安那其主義者《70年代》成員作品，在尖沙咀海運中心巴西咖啡舘等地點拍攝，原片以35毫米攝影機拍攝；1978年作爲獨立短片展節目在大會堂低座首映。1980年底，永熹公司同意在聖誕假期在灣仔京都戲院於活地•阿倫電影放映時，同場加映，可是影片在12月13日送檢，12月24日接到電檢處通知影片被禁，不能公開放映。

安那其主義者《70年代》成員作品，在尖沙咀海運中心巴西咖啡舘等地點拍攝，原片以35毫米攝影機拍攝；1978年作爲獨立短片展節目在大會堂低座首映。1980年底，永熹公司同意在聖誕假期在灣仔京都戲院於活地•阿倫電影放映時，同場加映，可是影片在12月13日送檢，12月24日接到電檢處通知影片被禁，不能公開放映。

他是一个收音师，一个追求世上美好声音的收音师。 　　他希望创作出世上最浪漫的音乐，偏偏自己却是一个不懂浪漫的人，于是上天似为他安排了他人生中最浪漫的两件事—一辆漂亮的居旅车，一个漂亮的女车主。　　女孩立志走遍天涯，男孩希望寻遍天籁之音，两个充满梦想的人一拍即合，结伴上路。居旅车成了他们的流浪屋。 　　走遍高山湖水，树林旱地；经历美景、困景；风土民情，两个人从互相猜疑到痛爱如己，女孩让他重拾敏感的心，他让女孩珍惜生命，两个人的心越来越近。 　　感情最浓烈的一刻，他才发现眼前这个笑容满面的女孩，已经走到人生尽头。他不肯接受，更不肯离弃，决意伴随她走完最后的路…… 　　她还有一个心愿，就是要找到传说故事中的一间树屋，就在那树屋上，远眺自己的家乡，离开这个世上。但他没有看见她合上眼的一刻，因为女孩希望自己最美好的一面永远留在他脑海里，中途离开了。 　　被遗下了，他只有默然的走回头的路。当生命正在承受最大的伤痛时……女孩却忽然重现眼前，焕然一新的形象，不再一样的态度、语气，截然不同的另一个人。 　　他不敢相信也不能接受，这到底是怎么样的一回事？

他是一个收音师，一个追求世上美好声音的收音师。 　　他希望创作出世上最浪漫的音乐，偏偏自己却是一个不懂浪漫的人，于是上天似为他安排了他人生中最浪漫的两件事—一辆漂亮的居旅车，一个漂亮的女车主。　　女孩立志走遍天涯，男孩希望寻遍天籁之音，两个充满梦想的人一拍即合，结伴上路。居旅车成了他们的流浪屋。 　　走遍高山湖水，树林旱地；经历美景、困景；风土民情，两个人从互相猜疑到痛爱如己，女孩让他重拾敏感的心，他让女孩珍惜生命，两个人的心越来越近。 　　感情最浓烈的一刻，他才发现眼前这个笑容满面的女孩，已经走到人生尽头。他不肯接受，更不肯离弃，决意伴随她走完最后的路…… 　　她还有一个心愿，就是要找到传说故事中的一间树屋，就在那树屋上，远眺自己的家乡，离开这个世上。但他没有看见她合上眼的一刻，因为女孩希望自己最美好的一面永远留在他脑海里，中途离开了。 　　被遗下了，他只有默然的走回头的路。当生命正在承受最大的伤痛时……女孩却忽然重现眼前，焕然一新的形象，不再一样的态度、语气，截然不同的另一个人。 　　他不敢相信也不能接受，这到底是怎么样的一回事？

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?

俗话说7岁看老，7年前澳大利亚一研究机构开始跟踪观察11名儿童的成长过程，纵观过去与未来，从气质，个性探讨是什么将改变他们的一生，而这一纵向研究项目在10年间已跟踪观察了约10000名儿童 一边研究孩子们处于何种成长阶段 并一同陪伴他们的成长。