我一个乞丐。 只是站在槐树下傻笑。 却被整个小镇的人当成了神明。 只因他们年幼时便见过我。 然而几十年甚至几百年过去。 他们都已长大成人。 白发苍苍。 但我依旧还是曾经的模样。 所有人都以为我已经修成了长生术法。 乃是得道仙人游历人间。

濒死少年在祖坟绝境逢生，被神秘女修当作炉鼎后，顽疾竟不药而愈，并意外打通灵脉，踏上仙途！然而，这并非奇遇的终结——一场旖旎的邂逅，竟成了他生死攸关的诅咒。“三十日内，若不能再续此缘，必经脉尽碎而亡！”看他如何在这场甜蜜的生死劫中，揭开背后隐藏的惊天秘密……

Around a familiar theme – the breakup of a marriage – Yvonne Rainer constructs a wickedly funny account of a self-satisfied womaniser. Sitting in a chair facing the camera, Jack Deller rambles on about women, whose visual absence runs through the entire film. On the soundtrack we hear their questions and comments, by turns enraged or laconic, both stressing and also subverting Deller’s self-assured discourse. The spoken words are taken from texts found in film and everyday culture, from poststructuralist, psychoanalytic and feminist theory. Aside from the theme of the failed (heterosexual) relationship, further fields of conflict get explored – the housing shortage and gentrification in New York during the 1980s, abortion rights, the violent interventions of the US in Latin America. A never-ending collage made up of contradictory levels of meaning results in producing ever new connections and contexts. “Rainer is not trying for some kind of well-mannered correctness or a masterly, fatherly notion of ‘transcendent intellectual clarity’; rather, she tends toward a type of tumbling process, an unbalancing of power, language, and the body.” (Barbara Kruger, Artforum 1986) 　　源自：https://www.berlinale.de/en/2023/programme/202314258.html

Around a familiar theme – the breakup of a marriage – Yvonne Rainer constructs a wickedly funny account of a self-satisfied womaniser. Sitting in a chair facing the camera, Jack Deller rambles on about women, whose visual absence runs through the entire film. On the soundtrack we hear their questions and comments, by turns enraged or laconic, both stressing and also subverting Deller’s self-assured discourse. The spoken words are taken from texts found in film and everyday culture, from poststructuralist, psychoanalytic and feminist theory. Aside from the theme of the failed (heterosexual) relationship, further fields of conflict get explored – the housing shortage and gentrification in New York during the 1980s, abortion rights, the violent interventions of the US in Latin America. A never-ending collage made up of contradictory levels of meaning results in producing ever new connections and contexts. “Rainer is not trying for some kind of well-mannered correctness or a masterly, fatherly notion of ‘transcendent intellectual clarity’; rather, she tends toward a type of tumbling process, an unbalancing of power, language, and the body.” (Barbara Kruger, Artforum 1986) 　　源自：https://www.berlinale.de/en/2023/programme/202314258.html

废柴次子沈闲，意外迎娶重生女帝叶倾仙，新婚夜绑定道侣赐福十倍返还系统。他凭系统化解回门途中的仇家暗算，逐步掌控家族权柄。从此，道侣在外横扫八荒，沈闲在家喝茶躺赢！

穿越修仙者李蒙，在寿元将尽时激活双修系统，通过攻略同门道侣获取修为与资源。李蒙凭借炼丹与符篆天赋，从外门废柴逆袭筑基，周旋于多位女修之间，并逐步揭露阴谋、对抗强敌，最终名震宗门，开启纵横仙途的后宫逆袭之路。

《要是羡慕就输了》讲述了真正艺人情侣们真实的爱情故事和日常生活，讲述了恋爱、爱情、结婚的想法和过程。

《要是羡慕就输了》讲述了真正艺人情侣们真实的爱情故事和日常生活，讲述了恋爱、爱情、结婚的想法和过程。

In a sharpshooting match, the manager of a Cincinnati hotel bets on the fellow who's been supplying the hotel with quail...who turns out to be young Annie Oakley. Result: Annie is hired for Buffalo Bill's Wild West Show (which is faithfully re-enacted in the film). She's tutored in showmanship by champ Toby Walker. But when Annie wins top billing, professional rivalry conflicts with their growing personal attachment, leading to misunderstanding and separation.

The film spotlights famed composer Franz Schubert, who loves a woman from afar. He stands by in quiet desperation as his beloved is married to a dashing military officer, then pours his sorrow (and his love) into his work. To avoid royalty payments, most of the Sigmund Romberg score is jettisoned, replaced by authentic Schubert themes.