内向中学生欧文原只想安稳度日，直到同校酷姐麦蒂向他介绍了神秘的深夜奇幻影集《神力粉红》——一个隐藏在地下的怪奇世界。两人总是偷窝在麦蒂家里，看粉红少女组对抗邪恶怪物。隔着电视的闪烁微光，欧文的内心也逐渐起了变化。而麦蒂突然人间蒸发，影集断尾，欧文的另一个世界，倏地戛然而止⋯⋯

内向中学生欧文原只想安稳度日，直到同校酷姐麦蒂向他介绍了神秘的深夜奇幻影集《神力粉红》——一个隐藏在地下的怪奇世界。两人总是偷窝在麦蒂家里，看粉红少女组对抗邪恶怪物。隔着电视的闪烁微光，欧文的内心也逐渐起了变化。而麦蒂突然人间蒸发，影集断尾，欧文的另一个世界，倏地戛然而止⋯⋯

奇奇（满旭春 饰）的父母是魔术师，常常要外出演出。每当这时，奇奇就会乖乖的待在奶奶家，打开电视，观看他最喜欢的节目《罐中迷》。节目中身怀绝技的卖艺女子红杏（贾永红 饰）是奇奇心目中的偶像。一天，奇奇突发奇想，向电视机屏幕扔了一个苹果，谁知道苹果竟然穿透了屏幕，被红杏接住了，就在奇奇感到百思不得其解之时，父母回来了，奇奇只得暂时关掉了电视。 　　第二天，奇奇找来了班上的同学甜甜（张茵 饰），两人相约一起看节目。这一次，红杏受到了恶霸孙福（唐首义 饰）的迫害，在紧要关头，奇奇掏出了玩具手枪对准了电视中的恶霸，哪知道，红杏和孙福竟然一起穿越了时空，来到了奇奇的房间里。

专题片《荧屏里的中国》以具有代表性的电视剧反观时代变迁。 　　第一集 眼之愉悦 　　第二集 万家灯火 　　第三集 高山流水 　　第四集 历史传奇 　　第五集 蹉跎岁月

A friend of mine had rented "Shiner" only because the clerks at his local video store were talking about "how much of a bigot the director is," implying that homophobia was at the root of the film (apparently these folks never watched the special features on the DVD, which totally negates that opinion). My friend took the video home and reported to me his fascination with the film; at the same time, he felt aroused, repulsed, intrigued and frightened during and after the flick. He told me about the premise of the film, and felt somewhat ashamed for finding some of its darker content erotic. 　　 　　A few weeks later, I picked up the film and had a similar experience. I was confused; in the queer movement were taught so much about power dynamics and organize ourselves to fight violence, but here was a dramatically different take on the subject. What ended my confusion was the interview with writer/director Christian Calson on the DVD. The line of his that grabbed me the most: "I didn't want to make another gay romantic comedy." Things suddenly made sense to me. So many queer, I mean, gay films (ahem) are merely homo-remakes of mainstream romantic comedies. As queers, our message got lost as we sought inclusion in a particular medium. So, in what might be the most post-modern move of a writer/director in film history, Christian Calson sought to queer gay cinema. (Yes, I'm using queer as a verb.) He later supports this argument by talking about a form of "post-gay liberation" in which gay leaders shouted "We're doctors! We're lawyers! We're teachers!" to the point our difference and diversity became invisible. "We're just like you" led to us becoming nothing, in a sense. 　　 　　While the movie is disturbing at times, it's thoroughly engaging. The audience member feels like a voyeur, peeping into the lives of these three "couples." And through that voyeurism, we come to a closer understanding of the elements of violence and how it relates to queerness. From self-loathing to internalized homophobia, from bitter rage to being just plain f'ed up, "Shiner" takes us through a mini-gamut of how violence affects us all, in ways no PSA or "the More You Know" segment could ever hope to address. 　　 　　I highly suggest that you pick up the DVD of the film and watch the special features, including the Calson interview and the commentary, which is a noteworthy production in its own right.

A friend of mine had rented "Shiner" only because the clerks at his local video store were talking about "how much of a bigot the director is," implying that homophobia was at the root of the film (apparently these folks never watched the special features on the DVD, which totally negates that opinion). My friend took the video home and reported to me his fascination with the film; at the same time, he felt aroused, repulsed, intrigued and frightened during and after the flick. He told me about the premise of the film, and felt somewhat ashamed for finding some of its darker content erotic. 　　 　　A few weeks later, I picked up the film and had a similar experience. I was confused; in the queer movement were taught so much about power dynamics and organize ourselves to fight violence, but here was a dramatically different take on the subject. What ended my confusion was the interview with writer/director Christian Calson on the DVD. The line of his that grabbed me the most: "I didn't want to make another gay romantic comedy." Things suddenly made sense to me. So many queer, I mean, gay films (ahem) are merely homo-remakes of mainstream romantic comedies. As queers, our message got lost as we sought inclusion in a particular medium. So, in what might be the most post-modern move of a writer/director in film history, Christian Calson sought to queer gay cinema. (Yes, I'm using queer as a verb.) He later supports this argument by talking about a form of "post-gay liberation" in which gay leaders shouted "We're doctors! We're lawyers! We're teachers!" to the point our difference and diversity became invisible. "We're just like you" led to us becoming nothing, in a sense. 　　 　　While the movie is disturbing at times, it's thoroughly engaging. The audience member feels like a voyeur, peeping into the lives of these three "couples." And through that voyeurism, we come to a closer understanding of the elements of violence and how it relates to queerness. From self-loathing to internalized homophobia, from bitter rage to being just plain f'ed up, "Shiner" takes us through a mini-gamut of how violence affects us all, in ways no PSA or "the More You Know" segment could ever hope to address. 　　 　　I highly suggest that you pick up the DVD of the film and watch the special features, including the Calson interview and the commentary, which is a noteworthy production in its own right.

Maxime, un jeune homme de 25 ans, débarque à Paris, mais souhaite rejoindre Justine, la femme qu'il aime, en Inde. Au bar de l'hôtel Raphaël, il fait la connaissance de Jack Lesterhoof, un riche homme d'affaires qui lui propose de devenir son interprète pour un rendez-vous important. Maxime accepte. 　　Les deux hommes deviennent bientôt amis. Jack décide de faire un break, de rompre avec la routine et d'accompagner Maxime en Inde.

在姐姐去世后，卓也一直过着浑浑噩噩的生活，直到他遇见了患有不治之症「发光病」的少女·真瑞，为了帮助少女完成心愿，卓也与少女许下约定。