没有多少人知道每家每户都有芬兰妖精居住。它们是一群毛茸茸的生物，出现在人类世界中是为了照顾房子和保持炉火。芬尼克是一个年轻的芬兰妖精，他似乎不在乎自己的责任，把房子变成一个家。他喜欢在家里搞恶作剧，这就是为什么没有一个家庭愿意在他的房子里待很长时间的原因。当一个新的家庭来到他的家时，一切都变了，芬尼克的恶作剧根本不起作用，他遇到了13岁的克里斯蒂娜，令人费解的事情开始在城里发生。芬尼克和克莉丝汀是如此不同，他们将不得不合作，共同解开事件的谜团，拯救这座城市。

电影讲述了刚参加工作的心理医生玛丽，希望治愈患有严重心理疾病的杀人犯马克，却引发马克继续杀人，玛丽最终意识到自己的错误，及时觉醒并解救了即将被马克杀死的亚力山德拉。玛丽遇到的第一个病人就是马克，目睹了主治医生亚力山德拉对待马克的态度后，在强烈的同情心和职业道德的驱使下，玛丽决定用自己的方式拯救马克。但她的行为违反了院方规定，被发现后，医院决定开除她，救人心切的玛丽在情急之下，私自释放了马克，并和他一起逃至小旅馆，此时她才渐渐发现，马克已病入膏肓，她根本无法控制他，在杀害了旅馆前台小姐后，马克又将黑手伸向了亚力山德拉……

在纽约城的一间顶楼公寓里，贾德和玛丽亚这两个截然不同的女人相遇了，一个是时髦的职业女性兼模特，另一个是聪慧、随性的单身母亲，她们是属于不同世界的人，唯一的共同点就是她们的前夫是同一个人：尼克。作为分手费，尼克按照协议把一处曼哈顿豪华顶层公寓分给了她们两个人。 　　所以她们要合住在这处公寓，一开始两人只是拌拌嘴，可后来“战争”升级了。但随着时间逝去，她们二人的关系变得亲近，更意识到尽管她们很不同，也还是有很多共同之处......

既酗酒又好色的尼克打算参加他弟弟科迪家的圣诞夜聚会，尼克会毁了这个聚会还是会和弟弟一家度过一个温暖的圣诞夜呢……

一位畫家受潘洛斯科技公司邀請，參與一項將作品具像化的實驗。不料，過程中卻出了巨大差錯，在畫筆勾勒下，這作品居然成為了怪物流竄於巷弄間。頓時間，民眾驚慌失措卻見科學家欣喜若狂，儘管四位特工力挽狂瀾，仍難抵威力，只能看著怪物持續肆虐城市。絕望中，畫家拾起畫筆，準備孤注一擲……

Passages from James Joyce's Finnegans Wake 1965 16mm film 90mins 　　This was the first attempt to cinematize the works of Irish author James Joyce. Based more on a stage adaptation by Mary Manning than the Joyce novel itself, the film concentrates on Dublin pubkeeper Finnegan (Martin J. Kelly), who while in the throes of inebriation has a vision of his own death. As the bemused Finnegan lies in his coffin, his friends gather for his wake. The "corpse" tries to cut through the keening and platitudes by probing the innermost thoughts of those closest to him. The surprising aspect of this film is that so much of its difficult text works on screen--a tribute to the loving care of scripter/director/ editor Mary Ellen Bute, who, while preparing this film spent her waking hours picking the brains and burrowing through the resource materials of the James Joyce Society. 　　Although director Mary Ellen Bute’s highly regarded Finnegans Wake (aka Passages from Finnegans Wake) is a unique film that is likely to baffle anyone unfamiliar with James Joyce, it cannot be dismissed merely as a literary exercise. The director was right in claiming that her film was “not a translation of the book but a reaction to it”. It is actually based on a stage play by Mary Manning, who was also responsible for the screenplay. Joyce’s elliptical rhetoric and intricate punning, which might be considered a formidable barrier to the filming of this most opaque of his works, proved to be an attraction to Bute, whose enthusiasm for the ‘visual’ and ‘kinetic’ quality of his language led her to the surprising but well-judged move of running subtitles from the original text to support the dialogue. 　　Visual music pioneer Mary Ellen Bute's final film was also her first feature film. James Joyce's classic story of Irish tavern-keeper who dreams of attending his own wake is brought to the screen with a sparkling energy which highlights its maker's career-long exploration of kinetic abstract animation. Perhaps best described as a 'film poem,' Passages from Finnegans Wake was the first attempt to 'cinematize' the works of James Joyce, featuring the author's highly original language spoken by characters and presented as text on screen.

Passages from James Joyce's Finnegans Wake 1965 16mm film 90mins 　　This was the first attempt to cinematize the works of Irish author James Joyce. Based more on a stage adaptation by Mary Manning than the Joyce novel itself, the film concentrates on Dublin pubkeeper Finnegan (Martin J. Kelly), who while in the throes of inebriation has a vision of his own death. As the bemused Finnegan lies in his coffin, his friends gather for his wake. The "corpse" tries to cut through the keening and platitudes by probing the innermost thoughts of those closest to him. The surprising aspect of this film is that so much of its difficult text works on screen--a tribute to the loving care of scripter/director/ editor Mary Ellen Bute, who, while preparing this film spent her waking hours picking the brains and burrowing through the resource materials of the James Joyce Society. 　　Although director Mary Ellen Bute’s highly regarded Finnegans Wake (aka Passages from Finnegans Wake) is a unique film that is likely to baffle anyone unfamiliar with James Joyce, it cannot be dismissed merely as a literary exercise. The director was right in claiming that her film was “not a translation of the book but a reaction to it”. It is actually based on a stage play by Mary Manning, who was also responsible for the screenplay. Joyce’s elliptical rhetoric and intricate punning, which might be considered a formidable barrier to the filming of this most opaque of his works, proved to be an attraction to Bute, whose enthusiasm for the ‘visual’ and ‘kinetic’ quality of his language led her to the surprising but well-judged move of running subtitles from the original text to support the dialogue. 　　Visual music pioneer Mary Ellen Bute's final film was also her first feature film. James Joyce's classic story of Irish tavern-keeper who dreams of attending his own wake is brought to the screen with a sparkling energy which highlights its maker's career-long exploration of kinetic abstract animation. Perhaps best described as a 'film poem,' Passages from Finnegans Wake was the first attempt to 'cinematize' the works of James Joyce, featuring the author's highly original language spoken by characters and presented as text on screen.

In his long-anticipated comedy special, center-left comedian Nick Mullen covers topics ranging from COVID to slavery, in a way only Mullen can. Hosted by special guest Adam Friedland.

Righteous district attorney Joseph Foster's main goal in life is to rid his city of the gangsters infesting it. In order to be even more efficient in his war against crime he plans to run for governor. One day he meets a strange, shadowy man, Nick Beal, who offers to help him to achieve his end. Beal convinces hesitating Foster by dint of easy money, easy sex with an alluring young woman and the promise of easy success. Joseph Foster soon becomes an influential politician but a corrupt one. A minister of God manages to show him that he has been the plaything of the so-called Nick Beal, who might be "Old Nick" , that is to say Satan himself. Foster then decides to resign and to become an honest man again.

索尼克是一个著名的游戏和漫画造型，也是一款极受欢迎的电子游戏系列。索尼克作为世界上最具知名度的刺猬，从一诞生就凭借其可爱的造型和无可比拟的速度风靡全球，让无数的玩家成了他的忠实爱好者。以索尼克为主人公的电子游戏曾在多个平台发表，总累计销量已经超过了1.16亿套。索尼克是世嘉（SEGA）公司的招牌作品，其创作人为中裕司，索尼克的成功让这个造型成了该公司的形象代言。