陆阳因兄弟与妻背叛而亡，穿越至西梁女国，遇长公主洛晚晴。恰逢帝夫大选，丞相江颜把控男丁。洛晚晴疑陆阳是刺客，欲杀时却因低血糖晕倒，陆阳用大白兔奶糖救她，凭老坛泡面获参赛机会。朝堂上，江颜带奇葩男与阴柔秦快，对陆阳嘲讽不断。陆阳借现代知识，在医术、厨艺比试中大放异彩，战胜秦快成为帝夫。女帝贪吃，洞房夜仍念美食。江颜以精棉短缺逼宫，陆阳揽下并回现代，用泡面换黄金与冯玉凝合作复仇。再回女国，以卫生巾解精棉危机，挫败江颜。秦会暗中引东梁师团，陆阳与东梁帝夫三斗皆胜，与女帝情更深。入男德学院遭诬陷，滴血验亲证清白。反派下毒，陆阳装死，得洛晚晴真情。最终反派造反被陆阳挫败，陆阳携女帝和长公主回现代。

古董贩宋阳意外捡到一款可以穿梭至90年代的手表，利用这块手表，宋阳来到90年代，用几百块钱的物资换来价值连城的古董，回到现实贩卖，又在90年代入股各大尚未成名的公司，等回到现代后，一跃成为百亿富豪

父亲去世一年后，莉迪亚-吉尔伯特感到完全迷失了方向--直到她发现了一个意想不到的东西：一个需要大片预算的太空歌剧剧本，作者正是她的父亲。她只带了一台录像机和零钱，决定纪念亡父，将剧本变为现实。

他意外闯入一个山洞里，这个山洞居然可以自由穿梭在1980 年与 2025 年的时空里，他看着八零年物资匮乏却充满机遇、2025 年科技发达但信息过载的两个时代，他瞬间摸清致富密码，开启双向穿梭暴富路！

FOO FIGHTERS BACK AND FORTH chronicles the 16 year history of the Foo Fighters: from the band's very first songs created as cassette demos Dave Grohl recorded during his tenure as Nirvana's drummer, through its ascent to their Grammy-winning, multi-platinum, arena and stadium headlining status as one of the biggest rock bands on the planet. 　　Produced by Nigel Sinclair (No Direction Home: Bob Dylan, Amazing Journey the Story of the Who, The Last Play at Shea) of Exclusive Media Group's Spitfire Pictures, and produced and directed by Oscar(r) and Emmy(r) winner James Moll, FOO FIGHTERS BACK AND FORTH culminates with the making of the band's new album Wasting Light: a process in which the band pushed itself forward by going fully back to basics and recording in Grohl's garage completely on analog tape. No computers, no software - just a band recording an album to tape in a garage. The new record also marks the Foos' first full-length effort with legendary producer Butch Vig, with whom Grohl worked on Nirvana's classic album Nevermind. 　　"...the documentary film, serve{s} as a great reminder why the Foos deserve to be ranked among the world's greatest rock bands. For proof, check out Back and Forth." -- Jim Harrington, San Jose Mercury News

雪山脚下，在彝族奴隶主恩扎古哈的寨子里，一场以娃子（奴隶）作赌注的摔跤正在进行。恩扎和邻寨的苏嘎头人都紧张地盯着各自的摔跤手，最后，恩扎的奴隶铁博终于取胜。此时，远处数匹马疾驰而来，管家从麻袋里倒出了一个美貌异常的汉族新媳妇--雪莲，恩扎令家奴将她捆在树上当活人靶。轮到神枪手铁博射击，善良的铁博枪下留情，救了雪莲的性命。为了收买人心，恩扎决定将雪莲许配给铁博。按照彝族习俗，举行"抢亲"仪式。"抢亲"之夜，雪莲抗婚出逃，被铁博追至溪边。这时，寨里的老阿妈赶来，对他讲述就在前天晚上，雪莲是在同一个汉家小伙子青林成亲时，被国民党兵劫卖到彝寨的。雪莲的不幸遭遇，激起了铁博对她的深切同情，他毅然决定与雪莲分开隐居山洞。雪莲的丈夫青林为找寻雪莲来到彝寨，二人在泉边意外重逢。当他们就要逃出虎口时，头人率众赶来，青林死于枪下，雪莲被抓回，投入冷屋，罚做苦役。一年过去了，铁博一直暗中照顾雪莲。这位善良的彝族青年，终于燃起了雪莲心中的火焰，她毅然找到山洞，铁博用竖笛吹起"抢亲"之夜的曲调，两人互相倾吐着不同的身世和遭遇。当铁博得知恩扎令他打死的那个青年就是青林时，他痛苦难抑，把子弹推上枪膛，让雪莲向他开枪为青林报仇，雪莲却把枪对准了天空。号角长鸣。寨堡外，恩扎正召集兵马举行打冤家的出征仪式。铁博接受战旗，随众人埋伏后山岩后俯视峡谷。当铁博按头人命令举旗为号时，雪莲从远处跑来，叫铁博不要再为恩扎卖命了。一场冤家之战被雪莲冲散，恩扎恼羞成怒，逼雪莲跳崖，以死赎罪。铁博终于开枪反抗，救出雪莲。管家率众追来，雪莲不幸中弹滑入深涧，铁博为给雪莲报仇，只身奋力与敌人厮杀。雪莲被老渔夫救起，伤愈后换上彝族服装找寻铁博。她来到老阿妈家，被管家发现，老阿妈为掩护雪莲惨遭毒手。雪莲拼命奔逃，被管家举枪射倒。正当管家得意之际，一枝利箭射中了他的喉管，他当即毙命。原来是铁博赶来，射死了仇人。铁博看到倒在血泊中的雪莲，悲痛欲绝，脱下豹皮背心裹住雪莲，用双手托起她，走向远处的雪山……

雪山脚下，在彝族奴隶主恩扎古哈的寨子里，一场以娃子（奴隶）作赌注的摔跤正在进行。恩扎和邻寨的苏嘎头人都紧张地盯着各自的摔跤手，最后，恩扎的奴隶铁博终于取胜。此时，远处数匹马疾驰而来，管家从麻袋里倒出了一个美貌异常的汉族新媳妇--雪莲，恩扎令家奴将她捆在树上当活人靶。轮到神枪手铁博射击，善良的铁博枪下留情，救了雪莲的性命。为了收买人心，恩扎决定将雪莲许配给铁博。按照彝族习俗，举行"抢亲"仪式。"抢亲"之夜，雪莲抗婚出逃，被铁博追至溪边。这时，寨里的老阿妈赶来，对他讲述就在前天晚上，雪莲是在同一个汉家小伙子青林成亲时，被国民党兵劫卖到彝寨的。雪莲的不幸遭遇，激起了铁博对她的深切同情，他毅然决定与雪莲分开隐居山洞。雪莲的丈夫青林为找寻雪莲来到彝寨，二人在泉边意外重逢。当他们就要逃出虎口时，头人率众赶来，青林死于枪下，雪莲被抓回，投入冷屋，罚做苦役。一年过去了，铁博一直暗中照顾雪莲。这位善良的彝族青年，终于燃起了雪莲心中的火焰，她毅然找到山洞，铁博用竖笛吹起"抢亲"之夜的曲调，两人互相倾吐着不同的身世和遭遇。当铁博得知恩扎令他打死的那个青年就是青林时，他痛苦难抑，把子弹推上枪膛，让雪莲向他开枪为青林报仇，雪莲却把枪对准了天空。号角长鸣。寨堡外，恩扎正召集兵马举行打冤家的出征仪式。铁博接受战旗，随众人埋伏后山岩后俯视峡谷。当铁博按头人命令举旗为号时，雪莲从远处跑来，叫铁博不要再为恩扎卖命了。一场冤家之战被雪莲冲散，恩扎恼羞成怒，逼雪莲跳崖，以死赎罪。铁博终于开枪反抗，救出雪莲。管家率众追来，雪莲不幸中弹滑入深涧，铁博为给雪莲报仇，只身奋力与敌人厮杀。雪莲被老渔夫救起，伤愈后换上彝族服装找寻铁博。她来到老阿妈家，被管家发现，老阿妈为掩护雪莲惨遭毒手。雪莲拼命奔逃，被管家举枪射倒。正当管家得意之际，一枝利箭射中了他的喉管，他当即毙命。原来是铁博赶来，射死了仇人。铁博看到倒在血泊中的雪莲，悲痛欲绝，脱下豹皮背心裹住雪莲，用双手托起她，走向远处的雪山……

"This neat, finely tuned, hypersensitive film examines the outside and inside of a banal prefab classroom, stares at an asymmetrical space so undistinguished that it's hard to believe the whole movie is confined to it, and has this neck-jerking camera gimmick that hits a wooden stop arm at each end of its swing. Basically it's a perpetual motion film that ingeniously builds a sculptural effect by insisting on time-motion to the point where the camera's swinging arcs and white wall field assume the hardness, the dimensions of a concrete beam. "In such a hard, drilling work, the wooden clap sounds are a terrific invention, and, as much as any single element, create the sculpture. Seeming to thrust the image outward off the screen, these clap effects are timed like a metronome, sometimes occurring with torrential frequency." - Manny Farber, Artforum, 1970

故事发生在距今千百万年前的原始社会，皓月当空，月朗星稀。原始丛林的某个角落，山洞内闪耀着乳黄色的火光。镜头拉近，我们看见一个身穿兽皮、胡子拉碴的原始人正用手在岩壁上涂涂画画。他正在画一个体型丰满到极度变形的女子，女子裸露全身，线条曼妙流畅。而且壁画不止一副，而是画了很多女子一字排开。当最后一幅完成之后，我们的原始人艺术家开始以极其超前的方式欣赏着他的旷世杰作…… 　　本片为2002年法国昂西动画节开幕动画短片。

Included in Jonathan Rosenbaum’s list of 1000 essential films, Parviz Kimiavi’s The Mongols (1973) is a leftfield satire and sharp commentary on the expanding presence of cinema and television in Iran. The story follows a filmmaker, played by Kimiavi himself and also named Parviz, as he struggles with both his own film and a looming assignment to oversee the installation of a television relay station in the remote province of Zahedan. Imbued by his wife’s thesis work on the Mongol invasion of Iran, Parviz’s anxieties coalesce and materialize in the form of surreal visions in which the origins of cinema are acted out by the Turkomans he hired to play Mongols in his own film. Together with Parviz, we watch as the would-be gang of Mongols wander the desert in search of their director and the answers to their pressing questions about the nature of cinema, all while the forthcoming introduction of television consumes the local village and its inhabitants. Kimiavi fashions a fantastical cinematic space rife with bizarre metaphoric imagery and Godardian references to film-making in order to draw a sarcastic parallel between the Mongol invasion and the hyper-accelerated modernization of 1970s Iran. 　　A director of a television series on the history of cinema, who has been grappling with the screenplay of his first feature film, receives an assignment to oversee the installation of a television relay station in a remote region of Zahedan province, near the Afghanistan border. He has already hired Turkoman tribespeople for his film and selected his filming location. Meanwhile his wife, who is working on her Ph.D. dissertation about the Mongol invasion of Iran, attempts to dissuade him from accepting the assignment. One night, while working on his history of the cinema series, the director fantasizes a diagetic world that consists of clever juxtapositions of his different worlds: the history of cinema, the history of the mongol invasion, his own film idea and his imminent assignment to the desert.