大业王朝皇权稳固，朝堂格局暗流涌动。先帝离世后太后病逝、皇后空置，当今皇帝景墨生早年体弱，常年疏于朝政，以叶淑妃为首的高位妃嫔觊觎后宫掌控权。边境外族部落野心勃勃，常年骚扰边关，现代穿越而来的石韵意外入宫，凭借天生神力与现代知识，打破宫廷与朝堂固有格局。帝王觉醒革新之志，朝堂旧势力、后宫妃嫔、外族外敌多方势力交织，开启大业王朝的变革与制衡之路。

穿越而来的石韵身怀天生神力，机缘巧合踏入皇宫。她凭借过人本领，搅动后宫与朝堂的重重暗流。叶淑妃一众高位妃嫔处处针对，外族兵马又兵临边境。久被病痛困扰、疏于理政的帝王景墨生，被她独特的现代思维点醒，萌生革新的志向。旧势力疯狂反扑，后宫纷争不断，外敌虎视眈眈，神力女子与觉醒的帝王携手，在多方围困之下谋求改写王朝命运。

后疫情时期的首个情感故事微网综。疫情是一面镜子，显现出人间百态。有情的、有劲的，有感动的、有激励的，有误解的、有释然的……每个小人物、小事件，都映照出了这个大事件之下的每个平凡人的生活。

暂无剧情简介

埃斯（Ece）和乌穆特（Umut）决定同住一所房子，然而乌穆特姨妈的一个意外决定让他们心烦意乱。这位姨妈打算处理掉自己的所有财产，并且要把仅存的一套房子留给最先结婚的那个人。

钟灿（金柱赫 饰）和妻子妍红（孙艺珍 饰）结婚多年，膝下有一可爱的女儿，两人男才女貌，在外人眼中是如同神仙眷侣一般的存在。钟灿涉足政坛，事业小有成就，同僚们都知道，他将有极大的可能成为下一任的国会议员。 某一日，厄运降临到了这个幸福的家庭之中，女儿无故失踪下落不明，留下难以解释的模糊线索，令警方毫无头绪。让妍红感到不可思议的是，对于女儿的失踪，钟灿似乎并没有那么焦急，他脑中所想的，只有如何在下一场竞选中取得胜利，夫妻两人之间的感情因此而产生裂痕。无奈之下，妍红只得强打起精神，她知道，女儿所能依靠的只有自己。

一名受人尊敬的主播（高庚杓 饰）突然在播报时失去自我约束力，此举吸引了一名电视台编剧（姜汉娜 饰）的注意，并邀请他上自己的综艺节目。

Evelyne Morin has known much misfortune in her life. Widowed, after being married to an unscrupulous adventurer, she ends up working as a call-girl in a Montmartre nightclub just so that she can bring up her young son. But Evelyne has hopes of escaping from this degrading life. One evening, she meets Georges, a Canadian friend, whom she once considered marrying. Since she last met him, Georges has become rich and highly respected as a doctor. To conceal her downfall, Evelyne pretends to be a respectable woman, with the help of Paul Mazuraud, an odious man who provides her with the wherewithal for her to keep up this deception. When her son unintentionally gives the game away, Evelyne places him in the care of her Canadian friend and then fades away into the fog...

The subtitle of Jean-Marie Straub and Danièle Huillet’s first feature, from 1965, “Only Violence Helps Where Violence Reigns,” suggests the fierce political program evoked by their rigorous aesthetic. The pretext of the film, set in Cologne, is Heinrich Böll’s novel “Billiards at Half Past Nine,” which they strip down to a handful of stark events and film with a confrontational angularity akin to Bartók’s music that adorns the soundtrack. The subtlest of cues accompany the story’s complex flashbacks. The middle-aged Robert Fähmel tells a young hotel bellhop of persecutions under the Third Reich; his elderly father, Heinrich, an architect famed for a local abbey, recalls the militarism of the First World War, when his wife, Johanna, incurred trouble for insulting the Kaiser. A third-generation Fähmel is considering architecture, just as the exiled brother of Robert’s late wife, returns, only to be met by their former torturer, now a West German official taking part in a celebratory parade of war veterans. Straub and Huillet make the layers of history live in the present tense, which they judge severely. The tamped-down acting and the spare, tense visual rhetoric suggest a state of moral crisis as well as the response—as much in style as in substance—that it demands.

老人斯拉维萨（Miodrag Krstovic 饰）与女儿女婿住在一起。他的老伴已经去世，而他渐渐患上了阿茨海默综合征，记忆力不断减退。他甚至忘记了自己曾经当教授时写过的教材，而在雨夜中也会迷失回家的路。 斯拉维萨只有在老伴的墓碑前才显得头脑清晰，每次都表达着对逝去的伴侣的思念和对当前无奈的感受。女儿和女婿忙于工作和照顾他们自己的家庭，无法完美的顾及到老人的需求。最终，他们不得不做出决定，将老人送进养老院，那里毕竟是专业照顾老人的机构。为了降低老人摔倒的风险，养老院没有设置台阶。虽然在决定和送老人去之间有很多不舍和无奈，但这被认为是最好的选择。