泡芙小姐第七季是由极夜篇和白昼篇两部分组成12个独立的小故事，白昼篇延续泡芙以往对爱的表达，在现实和幻想之间温暖填补着每一个灵魂的空洞，而在极夜篇里，更多的是泡芙的各种奇遇，在一个奇幻的现实世界里冒险，用最真实的情感引领每一颗迷失的心，重新回到爱的轨道，无论是现实还是幻想，爱都存在在每个人的心底，人们通过爱穿梭在现实与幻想之间，爱是七秒钟的幻想。

泡芙小姐第七季是由极夜篇和白昼篇两部分组成12个独立的小故事，白昼篇延续泡芙以往对爱的表达，在现实和幻想之间温暖填补着每一个灵魂的空洞，而在极夜篇里，更多的是泡芙的各种奇遇，在一个奇幻的现实世界里冒险，用最真实的情感引领每一颗迷失的心，重新回到爱的轨道，无论是现实还是幻想，爱都存在在每个人的心底，人们通过爱穿梭在现实与幻想之间，爱是七秒钟的幻想。

泡芙小姐第七季是由极夜篇和白昼篇两部分组成12个独立的小故事，白昼篇延续泡芙以往对爱的表达，重新回到爱的轨道，无论是现实还是幻想，爱都存在在每个…

7日7频道栏目的基本构架是以故事化的选题为主导，辅以生活服务类资讯信息。2012年停播。

Lord of the Frames: Kurt Kren 　　by Peter Tscherkassky 　　Translation: Elisabeth Frank-Großebner 　　reprinted from exhibition catalog, Kurt Kren at Wiener Secession, 1996 　　In 1964, "Wien Film" refused to print 6/64 Mama und Papa. When Kurt Kren handed in the original, the film grader said with an undertone of sympathy that, given the many cuts, one would not be able to make out anything, anyway. His worries were groundless: when Kren came to pick up the print, some people with flushed faces left the projection room, telling him to get out and never to come back again. A few months later, a similar scene took place at "Listo", where 9/64 O Tannenbaum was not accepted. Kren ultimately found a place that took his films, based on actions by Otto Muhl and Gunter Brus: a house on Peter Kaiser Gasse in Jedlersdorf, a neighborhood in the East of Vienna, on the other side of the river Danube. There, in the 21st district, on the most remote outskirts of town, films were developed and printed in self-made contraptions reminiscent of washing-machine drums. The man who ran the business single-handedly intimated that he was used to explicit images owing to customers from the blue movie scene. The facts that the credits in a few Kren works from those days are slightly out of place and that the name "Kren" next to the copyright sign goes beyond the edge of the frame can be explained in this context. On request, credits were in-house productions, but they were made with a camera that had no view finder, for which reason slipped boards were none too unusual. There were no objections to the films' content, formal and creative issues played a secondary role. 　　Be that as it may - the "© Kren" jutting out over the frame can easily be understood as a metaphor of the avant-garde and a harbinger of cinema outside the screen - Expanded Cinema. It is precisely during the "Jedlersdorf period" in his oeuvre that Kurt Kren demonstrates some of its best knacks to modern cinematography. 　　(Source: http://www.hi-beam.net/mkr/kk/kk-bio.... 　　http://www.ubu.com/film/kren.html

Lord of the Frames: Kurt Kren 　　by Peter Tscherkassky 　　Translation: Elisabeth Frank-Großebner 　　reprinted from exhibition catalog, Kurt Kren at Wiener Secession, 1996 　　In 1964, "Wien Film" refused to print 6/64 Mama und Papa. When Kurt Kren handed in the original, the film grader said with an undertone of sympathy that, given the many cuts, one would not be able to make out anything, anyway. His worries were groundless: when Kren came to pick up the print, some people with flushed faces left the projection room, telling him to get out and never to come back again. A few months later, a similar scene took place at "Listo", where 9/64 O Tannenbaum was not accepted. Kren ultimately found a place that took his films, based on actions by Otto Muhl and Gunter Brus: a house on Peter Kaiser Gasse in Jedlersdorf, a neighborhood in the East of Vienna, on the other side of the river Danube. There, in the 21st district, on the most remote outskirts of town, films were developed and printed in self-made contraptions reminiscent of washing-machine drums. The man who ran the business single-handedly intimated that he was used to explicit images owing to customers from the blue movie scene. The facts that the credits in a few Kren works from those days are slightly out of place and that the name "Kren" next to the copyright sign goes beyond the edge of the frame can be explained in this context. On request, credits were in-house productions, but they were made with a camera that had no view finder, for which reason slipped boards were none too unusual. There were no objections to the films' content, formal and creative issues played a secondary role. 　　Be that as it may - the "© Kren" jutting out over the frame can easily be understood as a metaphor of the avant-garde and a harbinger of cinema outside the screen - Expanded Cinema. It is precisely during the "Jedlersdorf period" in his oeuvre that Kurt Kren demonstrates some of its best knacks to modern cinematography. 　　(Source: http://www.hi-beam.net/mkr/kk/kk-bio.... 　　http://www.ubu.com/film/kren.html

Rajiv and Varsha, a couple with a five-year-old son, Rahul, moves to a new flat where Varsha faces paranormal activities. Can Varsha fight against supernatural forces to save their dream house, or she decides to leave her house to save her family?

山部健太與朋友們一起去露營，他的目標是從溪流釣到今年最早的大馬哈魚．突然，一名少女出現在他的眼前，彷彿是從流行主雜誌坎出來的美麗少女對健太說：下次約個時間見面吧！並留下電話號碼給他．．．

When starting an international relationship, we believe that there are no borders when it comes to love. However, while dating we face many obstacles such as linguistic and cultural differences. We wonder, “Who’s fault is this?” While there are no concrete answers when it comes to love and relationships, we aim to resolve some of these issues. We have 7 men and 7 women from different countries and different cultural backgrounds to share their opinions on love and relationships.

When starting an international relationship, we believe that there are no borders when it comes to love. However, while dating we face many obstacles such as linguistic and cultural differences. We wonder, “Who’s fault is this?” While there are no concrete answers when it comes to love and relationships, we aim to resolve some of these issues. We have 7 men and 7 women from different countries and different cultural backgrounds to share their opinions on love and relationships.