陈瑞安在遭遇车祸后，被颜玉的灵魂夺舍身体长达四年。当陈瑞安终于夺回身体，却发现自己的人生已被彻底颠覆—前夫方泽对“她”当年的背叛与羞辱恨之入骨，人人视她为拜金恶女。她一边努力自证清白，寻找夺舍真相，一边躲避颜玉及其同伙颜笑的多次加害。在追查过程中，她逐渐揭开了颜笑姐妹与母亲廖姨利用禁术夺舍他人生命的阴谋，并在程绪的守护与信任下，最终摆脱困境、找回自我，揭开真相，与过去和解，收获了真正的爱情。

程氏总裁的女儿程澜年少遇人不淑，夫家重男轻女卖掉刚出生的女儿，却不知因护士的一个差错卖掉了别人的孩子。程澜被父亲救走自此与夫家决裂，踏上寻女之路。程澜的女儿被江家养大取名江若梨，后夏媛差错中被卖的女儿江茴找上门来，挑拨离间江若梨被赶出家门。对江若梨穷追不舍地刁难，瘸腿前，用女儿下落诱得程澜将其打晕并放火，若梨火场救母晕倒，被心机女江茴交换位置，程氏母女能否相认，又将何去何从？

程澜年少遇人不淑，夫家卖掉其女却不知错抱他人。程澜决裂夫家，踏上寻女路。其女被江家养大，名江若梨。夏媛被卖之女江茴找上门挑拨，若梨被逐。江茴刁难若梨，程澜和爷爷屡次相救。前夫用女儿下落诱程澜，将其打晕放火。若梨火场救母晕倒，被江茴换位置。程氏母女能否相认，未来又将如何，充满悬念。

经历中年危机的电影人纳米尔在拍摄一部关于家族哀悼的纪录片期间，前往开罗主持编剧研讨会。与一群渴望创作自由的年轻写作者的相遇，触发了一场蜕变——他终于窥见那部迟迟未能完成的电影的初衷：通过全然拥抱生活，向父母致以最深的敬意。

苏念夺回被穿越女占据三年的身体，却面临生命倒计时危机，唯有接触傅寒川方可续命。此时她的科研成果遭窃，家族企业大权旁落，还因穿越女行径沦为笑柄。为扭转困局，苏念向渣男、夺权亲属展开反击，又以核心技术为筹码，与表面是男模、实则身份显赫的傅寒川达成合作。二人携手化解穿越女和系统带来的危机后，苏念濒临死亡，傅寒川为救苏念找到神秘人交易。

龙凤胎高考放榜后，家人误信不实言论，私藏其中一人的重点大学录取通知书，让另一人冒名顶替入学。当事人隐忍收集相关证据，最终通过合法渠道揭露全部真相，夺回本就属于自己的学历与尊严。后续她依规承担应尽的赡养义务，彻底切断原生家庭的不当剥削，独自去往向往的新天地，实现自我成长与蜕变，迎来全新的人生。

三年前苏清池为报恩嫁给顾景行，隐瞒首富千金身份，暗助其事业并赠千亿合同。不料丈夫因她出身低微提离婚，更与苏家分公司经理女儿林诗语暧昧。忍无可忍的她决定撤资，却在签约晚宴遭顾家羞辱，母亲遗玉被摔碎。危难时刻三年前救她的傅氏继承人傅莫臣挺身而出，力挺她夺回权益并表白。顾家因贪婪失去千亿合同，全员遭法律制裁，林诗语身败名裂，而苏清池在复仇中完成自我蜕变，与傅莫臣幸福的走在了一起。

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.