《转身》记录了Kane在上海四一一医院接受性别肯定手术的过程。镜头深入手术室与病房，跟随Kane身体经历变化的每一个微小步骤。在制度与现实交织的缝隙中，Kane的身体发生改变，也在重新调整与世界的关系。这部片以安静的注视，记录那些难以被轻易言说经验与抉择。 　　Turn Around follows Kane’s gender-affirming surgery at Shanghai’s 411 Hospital, tracing every subtle change in Kane’s body, from the operating room to the recovery ward. Within the interstices of institution and lived reality, Kane’s body is transformed, and so too is their relation to the world. With quiet and attentive observation, the film bears witness to experiences and choices that often resist easy articulation.

性格迥异的苏菲与安宁，因苏菲家庭的破裂而惺惺相惜。两个单亲妈妈组成“她联盟”，绝地反击！二人携手治愈情感伤痛，解锁新生活。项目聚焦女性情感困境，引爆女性内心宇宙。格局一经打开，她们愈发灿烂。

国内首档盲选约会节目《转身遇到TA》美国原版《the choice》登陆浙江卫视！各种黄金单身汉、妙龄俏佳人齐聚。

《转身遇到TA》是浙江卫视在2013年推出的一档全新大型优质婚恋服务节目。该节目原版引进自美国福克斯的《The Choice》（《选择》），是国内唯一拥有版权模式制作的节目。节目主打盲选约会、转椅相亲。每周六晚21:10在浙江卫视播出，于2013年9月28日正式收官并宣布停播。

深夜，苏菲和丈夫闫伟伦如胶似漆，结婚这么多年，他们感情如旧。岂料第二天，苏菲意外发现丈夫闫伟伦的包里竟然装有女性内衣，她疑云顿起，丈夫却三言两语轻易脱身。作为创业公司菲尚的总经理，让苏菲头大的还有另一件事：公司重点项目“嗨动”软件被资方催着要加广告栏，否则无法完成对赌。婚姻、事业同时暴雷，焦头烂额的苏菲刚出门又跟安宁在小区里相撞，两人针尖对麦芒，闫伟伦正巧赶到。

曾经，华芳凝（汪明荃 饰）是红极一时的超级巨星，然而，一晃眼四十年过去，如今的华芳凝人气再也无法和当年相比，而她的身体亦出现了问题。在接受了心脏手术后，华芳凝震惊的意识到，由于自己一心扑在工作和交际之上，她和孩子们之间的关系已然坠入了冰点。 　　华芳凝联系上了远在台湾的大女儿潘思南（赵希洛 饰），想要从她开始，重新修复彼此之间千疮百孔的亲情。在前往台湾的途中，华芳凝遇见了名为罗斌汉（刘松仁 饰）的男子，罗斌汉的妻子（米雪 饰）去世了，悲伤之后，他决定前往妻子的故乡台湾纪念凭吊。之后，华芳凝又结识了创作人桑上恒（方力申 饰）三人之间交织出了一个有笑有泪的故事。

曾经，华芳凝（汪明荃 饰）是红极一时的超级巨星，然而，一晃眼四十年过去，如今的华芳凝人气再也无法和当年相比，而她的身体亦出现了问题。在接受了心脏手术后，华芳凝震惊的意识到，由于自己一心扑在工作和交际之上，她和孩子们之间的关系已然坠入了冰点。 　　华芳凝联系上了远在台湾的大女儿潘思南（赵希洛 饰），想要从她开始，重新修复彼此之间千疮百孔的亲情。在前往台湾的途中，华芳凝遇见了名为罗斌汉（刘松仁 饰）的男子，罗斌汉的妻子（米雪 饰）去世了，悲伤之后，他决定前往妻子的故乡台湾纪念凭吊。之后，华芳凝又结识了创作人桑上恒（方力申 饰）三人之间交织出了一个有笑有泪的故事。

新垣结衣在上海拍摄的心情短剧。新垣结衣一人分饰两角，讲说她独自到上海旅行，偶遇与自己长相一模一样的女生

The fear of being overwhelmed by the outside world can almost litterally make you lose your head...

A diary film about a relationship between a man (Alain Cavalier) and a woman, told entirely through voice-overs by the two participants, spoken over largely static images (of household objects, animals, parts of the body, rooms, landscapes etc.). At times an emotional direction emerges (an articulation of love, loss, frustration), then it retreats. At times the film seems to be about its own making; at others it seems merely to drift. 　　Imdb Review: Alain Cavalier's latest film is deceptively simple and yet revolutionary because it seems to stand outside the boundaries of narrative and documentary filmmaking. One could describe "La Rencontre" as a cinematic diary--a home movie that documents the filmmaker and his muse during the course of their relationship. But unlike most movies the human subjects here are never photographed in whole, just partially. This brave new work is as much about Cavalier's object of desire, that is, his lover as it is about the medium that gives expression to his love. It is conceived as one part confessional and one part discourse on the metaphysics of love and cinema. The cinema, for Cavalier, is like a two-way mirror that records images while reflecting those images back onto itself. Subject and object appear to mirror each other's identity until they assume new personae in the process. 　　The immediate challenge for Cavalier, then, is cinema's objective gaze: the ability of the camera to record the physical nature of reality. But Cavalier's chief interest is just the opposite. He wants to demonstrate the possibility of a new cinema: one that evolves out of concealment and subterfuge. This cinema deemphasizes the human landscape and dislocates the image from its voice. It focuses inward rather than outward, and chooses to explore the intangible and the abstract over the tactile and the concrete. 　　Appropriately, Cavalier's cine-diary unfolds like an open book: his twin loves (muse and cinema) are illuminated through a series of tableaux filled with close-up objects which are brought vividly to life by the imagination and the transfigurative power of the cinema. It is as if these everyday objects have become the lovers' collective memories saturated with the emotions and energy of life. In short these objects have assumed a life of their own becoming humanized and perhaps immortalized in the process. After all isn't this precisely the paradox of cinema--the ability to resurrect inanimate objects, to bring them back to life at 24 frames per second?