方余被亲生母亲骂做赔钱货，母亲为了抚养费勉强养她，转头就把她推给生父。方余本以为去到继母家会日子难熬，没想到继母张秀梅不顾旁人闲话，真心实意疼爱她，生父也护着她，弟弟更是对她贴心。在一家人的关爱下，方余考上省重点，读完大学自主创业。后来生母找上门哭着要钱，方余没有心软妥协。如今方余嫁人怀孕，被全家好好呵护，她才懂得，被人用心爱着，就是寒夜里永远为你亮着的那盏灯。

母亲离世后，她以为全世界都没人爱她了，没想到继母的到来打破了她的想法，继母和父亲离婚，却把她带走了，到城里以后继母细心照顾她，事事为她着想，继母的这份无声的温暖终破防林晓，让她走出阴霾，与家庭和解，重获人生暖意。

现代拥有精湛厨艺的女主意外穿越到八十年代，成为身形瘦弱的普通姑娘，觉醒美食治愈相关能力。她凭借出神入化的烹饪手艺，做出一道道充满烟火气的美味佳肴，抚慰病痛温暖人心，在摆摊谋生的路上结识正直可靠的男主，两人在热气腾腾的烟火日常中收获他人认可与真挚情意，看她执掌锅铲，以美味为媒介，在八十年代活出闪闪发光的全新人生。

《被爱的人》在巴黎、伦敦以及布拉格三地取景，故事分为两段，一段发生在上世纪六十年代，性开放和女性解放的黄金年代，巴黎女子玛德林随新婚丈夫贾罗米尔来到了布拉格，然而苏联坦克开进这座城市迫使两人的分离。第二段是在三十年后，九十年代的人们体会到了艾滋病的恐怖，害怕承诺是一种世纪病，玛德林的女儿薇拉在伦敦遇到了亨德森，后者却认为自己没有相爱的能力。

《被爱的人》在巴黎、伦敦以及布拉格三地取景，故事分为两段，一段发生在上世纪六十年代，性开放和女性解放的黄金年代，巴黎女子玛德林随新婚丈夫贾罗米尔来到了布拉格，然而苏联坦克开进这座城市迫使两人的分离。第二段是在三十年后，九十年代的人们体会到了艾滋病的恐怖，害怕承诺是一种世纪病，玛德林的女儿薇拉在伦敦遇到了亨德森，后者却认为自己没有相爱的能力。

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.

流浪小猫小橘自幼遭母亲遗弃，艰难求生，还曾被野猫首领咬伤。保安大刘布设陷阱毒害流浪小动物，它救下的幼崽不幸遇害，负伤的小橘被医生救治，在此结识患病男孩豆豆。它终日守候病房，后续坏人恶行败露，小橘的特殊抗原能够救助豆豆，饱经磨难的小猫最终拥有归宿。