祝禾身为古典舞天才，在全国舞蹈比赛决赛上被评委鉴定抄袭继妹祝苗舞蹈，被害重生到舞蹈比赛开始前三天，决心报复二人。祝禾想起前世记忆，果断放弃刚刚准备好的舞蹈，要创作新舞蹈。为了防止祝苗抄袭自己的舞蹈，祝禾请求自己的父亲给自己准备一个独立练舞室。却发现祝苗仍旧可以抄袭到自己的舞蹈，祝禾选择利用了母亲留下的舞蹈笔记，创作出一支更有难度的新舞蹈参加比赛，比赛上，却发现祝苗和自己的舞蹈曲目又一样。

温氏集团董事长温舒然，乔装普通顾客，暗访女儿温砚辞的未婚夫江屹。江屹见她衣着朴素百般刁难，还抢夺资料引发设备故障。展厅销售陆知衍挺身而出仗义执言。温舒然意外发现，陆知衍手腕伤疤，正是三年山洪救人留下，救命功劳却被江屹冒领。订婚宴上证据全开，戳破骗局，温砚辞拒绝报恩式爱情。

1978 年，林建军苦读考上大学，一纸珍贵的录取通知书，却被大伯暗中偷走，交由堂哥冒名顶替。不仅求学梦彻底破碎，他还遭人恶意构陷，蒙冤入狱整整三年。刑满出狱，一无所有的林建军从工地搬砖做起，咬紧牙关艰苦打拼，一步步创办属于自己的建筑公司。成功之余，他从未放下过往的冤屈，四处奔走暗中搜集证据，誓要揭穿当年顶替上学的全部真相。追查过程中，意外挖出多年前父亲离奇离世的内情，竟和文物走私团伙息息相关。历经重重波折，恶人得到应有的惩处，林建军终于沉冤得雪。事业蒸蒸日上的他，反哺故土，带动家乡百姓共同致富，书写了一段坚守本心、浴火重生的励志人生。

前世林家真千金林溪溪，在林家活得卑微煎熬。假千金林娇娇屡次设计陷害她，父母与二哥林慕白却一味偏信假千金的说辞。一场落水意外，家人优先营救并无险境的林娇娇，任由林溪溪坠入冰冷大海。 身死之后，林溪溪才看清真相，林娇娇不仅谋害自己，还掏空骗走林家全部家产。怀揣满心恨意，林溪溪重生回到刚被认回林家的晚宴。这一世，她不愿再做逆来顺受的软弱女孩，决心奋起反击，不再任由他人摆布，向一众亏欠自己的人讨回公道。

董事长母亲回国为陆曼曼庆生，察觉保洁的女儿周小暖企图篡改合同嫁祸真千金。周小暖偷听信息，改名顶替身份入职，抹黑对手、调换合同抢夺优秀员工名额，众人被她的虚假人设蒙骗。母亲搜集证据在年会揭穿一切。后续周小暖登门道歉，陆曼曼劝她认清自我，半年后她踏实工作，两人各自开启新的生活。

暂无剧情简介

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。