神武宗叶玄被未婚妻慕容芷背叛，叶玄自爆丹田与魔祖同归于尽，一年后叶玄意外激活系统bug，凭借超乎常人的修炼速度，开启开挂的修炼之路，慕容芷百般羞辱叶玄，叶玄在宗门比武中获胜惊讶众人并与未婚妻慕容芷退婚，在日后的修炼之路中与墨家大小姐墨青丝相爱相杀，慢慢产生情愫，叶玄打败魔族，一对欢喜冤家修成正果。

林凡，曾经的龙主，选择回归平凡生活，与苏晴结婚。然而，他的岳母和小姨子对他不满，甚至设计陷害他。在家族秘密暴露、敌人环伺的危机中，林凡展现了惊人的智慧和勇气，保护妻子苏晴，并揭露了自己是林家灭门事件唯一幸存者的身份，为家族复仇。风波过后，林凡和苏晴的婚姻更加坚固，他们共同面对未来，林凡继续守护他们的幸福生活。

林凡，曾经的龙主，选择回归平凡生活，与苏晴结婚。然而，他的岳母和小姨子对他不满，甚至设计陷害他。在家族秘密暴露、敌人环伺的危机中，林凡展现了惊人的智慧和勇气，保护妻子苏晴，并揭露了自己是林家灭门事件唯一幸存者的身份，为家族复仇。风波过后，林凡和苏晴的婚姻更加坚固，他们共同面对未来，林凡继续守护他们的幸福生活。

这部由环球公司（Universal）拍摄、Ronald D. Moore、Gail Berman 及 Lloyd Braun 制片的太空科幻作品，将描述地球人的首艘星际飞船－－"旅行车" 号。船上12名宇航员（算上船载计算机为13人）将展开为期十年的宇宙探索旅行，目的地是一个遥远的恒星系。为了帮助船员们克服长途旅行的无聊感，让他们精力集中，美国航空航天局在船上安装了一台先进的虚拟现实装置。这台有趣的设备允许船员们以任何虚拟身份进入任何虚拟世界进行冒险。这项计划一开始完美无缺，直到系统中突然出现了一个神秘的 "缺陷"。 　　"故事的主题是：你弄不清什么是幻想，什么是现实，为了活命，你只能逃跑。但我们究竟为了什么而活呢？" 环球公司媒体创作室的主席 Katherine Pope 如是说。

故事发生在一座小镇的医院内。一名警官将一位伤员送进医院后，一群身份不明的神秘人包围了医院。宗教？黑帮？恐怖组织？在知晓这群人的身份之前，一场大屠杀已经展开。

憧憬成为帅气的大魔法使的赛特，为了打倒来自天空的怪物涅墨西斯，每天都在努力的进行魔法特训，但赛特的训练一直不顺利，总是引起纠纷给村子里的人添麻烦。某一日，巨型涅墨西斯袭击了村子，为了拯救世界彻底消除涅墨西斯，赛特下定决心去寻找传说中涅墨西斯巢穴地，在旅途中赛特不断的遇到新的伙伴与新的强敌不断的成长。

When Rosa is expected to hand her boss the suntan lotion on a deer hunt, this feels like a sign. Don Reynaldo’s ranch is about to celebrate its farm anniversary, but this passionate hunter’s image is built on a lie. And so, here in the countryside, where men are men, employees are grateful subjects and women diligently and docilely hold it all together, cracks begin to appear in the social life of this microcosm. Ordered around day in and day out, unnoticed by those in her class-conscious surroundings, the menial Rosa gradually becomes an agent of change. While Don Reynaldo’s extended family contorts itself in a bid to save the old order, men begin to arrive at the farm in pickup trucks. Their appearance at the feast and a threat are enough to make the ageing patriarch fear for his life and his family – and force him to act. All that passes is observed by the animals who, either as trophies on the wall or as livestock out to pasture, seem to sense the end of an old hegemony. 　　With a keen sense of how to deploy omens that herald change, Alejandra Márquez Abella portrays an epochal shift in rural Mexico – as seen by characters who are usually relegated to passive supporting roles.

When Rosa is expected to hand her boss the suntan lotion on a deer hunt, this feels like a sign. Don Reynaldo’s ranch is about to celebrate its farm anniversary, but this passionate hunter’s image is built on a lie. And so, here in the countryside, where men are men, employees are grateful subjects and women diligently and docilely hold it all together, cracks begin to appear in the social life of this microcosm. Ordered around day in and day out, unnoticed by those in her class-conscious surroundings, the menial Rosa gradually becomes an agent of change. While Don Reynaldo’s extended family contorts itself in a bid to save the old order, men begin to arrive at the farm in pickup trucks. Their appearance at the feast and a threat are enough to make the ageing patriarch fear for his life and his family – and force him to act. All that passes is observed by the animals who, either as trophies on the wall or as livestock out to pasture, seem to sense the end of an old hegemony. 　　With a keen sense of how to deploy omens that herald change, Alejandra Márquez Abella portrays an epochal shift in rural Mexico – as seen by characters who are usually relegated to passive supporting roles.

“Between Two Voids” is a collaborative nonfiction film shaped in resonance with artist Nancy Atakan, a Virginian who has lived and worked in Türkiye for over fifty years. Rather than follow a linear biography, it drifts through traces – where memory and material intertwine. Moving between Istanbul’s streets and Nancy’s layered archives, the camera lingers on what resists completion; conversations dissolve into the clatter of the street below, old photographs slide out of frame. The poetic and the political inhabit the same breath, each inflected by what remains unsaid. With its destabilised authorship, hybrid language, and textured editing, the film resists explanation in favour of encounter, offering a shared void shaped by intimacy, absence, and the ongoing negotiation of belonging.