南华大学戏剧系学生白夭，因家贫装名媛混上流社会，欲借婚姻改命。慈善晚宴遇豪门继承人周宴知，被识破伪装。周宴知以揭穿真相为由，与她签假结婚协议应对催婚。相处中，白夭的真诚坚韧打动周宴知，二人渐生情愫。周宴知青梅竹马沈思思阻挠，恶行败露后被绳之以法。周宴知向白夭坦露爱意，二人冲破压力，终获幸福，彰显真爱超越身份地位的力量。

富家之女绫乃与她的丈夫是一对名存实亡的夫妇，绫乃拒绝与她的丈夫发生肉体关系，因为他是被父亲所迫而结婚。她无法忘记与她学生时代所爱的女孩朱美的恋情。两人自从绫乃结婚后就关系疏远，但朱美却以父亲的再婚伴侣的身份突然出现在绫乃面前。两人之间危险的关系开始朝着意想不到的方向发展…

泰国搞笑顽皮鬼团队最新搞笑电影 　　《名媛风暴》的恐怖和血腥的恐怖故事开始于Phojaman (Ko Tee Aram Boy)，一个可爱的小女孩，从一个乡村旅行到曼谷。为了继续按照他父亲生前的遗愿学习，他允许波特贾曼和母亲阿姆拉帕·普鲁普哈纳莱一家住在巴安多克·迈通府，这是一个神圣的地方阿姨。然后，当波贾曼走进来来到通的花房时，她遇到了哺乳动物(Ekkachai Srivichai)、英吉德利(Yingsak Chonglertjesadawong)、一个腿有残疾、嘴歪、嘴歪的小个子男人(Wiradit Sri Malai)和那些欺负各种诗的仆人Mae Cho Manee (Pach-Anon)，管家的头，掌握着Baan Dokthong的重要秘密 　　The horrifying and bloody horror story of Phochaman Sawatakata begins when Phojaman (Ko Tee Aram Boy), a cute little girl, travels from a rural country into Bangkok. In order to continue to study according to the wishes of his father ordered before his death By allowing Potjaman to live in the Baan Dok Mai Thong mansion with the family of Mom Amrapa Praewphanarai, Phanna Wiran Samanjit (Chaturong Photharam), which has a divine aunt. And then when Pojaman walked in to come to the flower house of Thong She met Mammals (Ekkachai Srivichai), Ying Jidry (Yingsak Chonglertjesadawong), a little man (Wiradit Sri Malai) with a physically disabled leg, slanted mouth, crooked and those servants who bullying the various poems Mae Cho Manee (Pach-Anon), the head of the housekeeper who holds the important secrets of Baan Dokthong.

该剧为2012无线节目巡礼场刊版剧集之一，2012年10月22日上映播出。 　　三十年代香港，正值东西文化冲击，女性开始争取地位。法律界名大状钟卓万（刘松仁 饰）曾留学英国，生活洋化，但骨子里是一个传统的中国男人，拥有几个女人，彰显他的权力和身份地位。元配顾心兰（韩马利 饰）是大家闺秀，二太太是前清格格尔嫣（陈玉莲 饰），三太太是银行家之后易懿芳（江美仪 饰），四太太是著名刀马旦康子君（杨怡 饰），第五个女人则是贪慕虚荣的赵丹丹（贾晓晨 饰）。然而，卓万心中最爱只有子君，但子君为争取妇女地位，跟卓万意见不合。在严父强权管教下，两个儿子钟启燊（马国明 饰）和钟启烨（王浩信 饰）先后与卓万反目，女儿钟浩颐（马赛 饰）不顾一切嫁给穷警察，钟家各房人明争暗斗愈演愈烈之际，金木水（吴卓羲 饰）爱慕义妹季小由（朱晨丽 饰），不甘她成为钟家媳妇，混入钟家展开复仇大计；豪门表面煦灿，内里四分五裂……

三十年代的旧香港，上流社会作风洋化浮华，英式殖民地色彩深厚；豪门格局、华丽包装，成就另类风情。　　表面的时髦掩饰不了实际上的男尊女卑，女性不…

A group of Italian soccer fans arrive in Paris for a match, but most of them go their separate ways to explore the sights, have a bit of an adventure, and maybe even find some romance.

本片又名[疯狂的射线]。雷内·克莱尔在先锋派的无情节炫技作品[幕间休息]之后的剧情片处女作，科幻短片。某科学家发明了一种沉睡射线让整个巴黎所有的人都静止了，除了他自己及侄女，以及处在高空的埃菲尔铁塔看守人和飞机上的几位乘客。整个巴黎都属于他们了。于是这群资产阶级男女作为巴黎唯一能行动的人们开始了自己的冒险。影片的结尾很有趣。另外这部短片雄辩地证明，科幻片不一定非要数字技术……

鲁道夫在造成一名工人死亡的事故后，前往巴黎的浅滩寻找他的女儿玛丽。

"The brooding, existentialist portraits of his classmates in We Are 17 clashed so much with Holland's postwar optimism that a counter-album, We Are Also 17, soon appeared. His early experimental films, like Paris a l'aube (Paris at dawn) (1957-60), a ten-minute sequence of long, static views of the city shot every morning at 4 A.M., were dismissed as "photographic," while those of the '70s, notably North-South Triptych (1972-74), were marginalized because of their radical politics (not to mention their experimental form). Increasingly complex works in recent years continue to defy received notions of film versus photography, documentary versus fiction, and public versus private art: Amsterdam Global Village (1996), for example, is a look at the postcolonial metropolis as a post-McLuhan mosaic. It begins with a colorful St. Nicholas festival on Amsterdam's canals, and circles village and globe for more than four hours before culminating in a polysexual fantasy filmed behind an august facade overlooking the same canals."

A film shot as a serial, searching for a real cinematographic form, far from its fairy origins. Beautiful trip to Nice where you can feel Perret’s joy to film. The walk of Bosco-Maurice Lagrénée in the city and on the Promenade des Anglais, the triumph of the return of Captain de Valen-Emile Keppens from the colonies, the poor orphan Marie-Laure, every thing recalls the poetic realism that will be in fashion later in the French cinema, even if there is a reactionnary background in L’enfant de Paris. It makes us think of Duvivier, Carné, Vigo already…