東方神起出外景，金在中似乎向鄭允浩隱瞞著什麼秘密，金俊秀和沈昌珉神秘失蹤了。朴有天對兩位失蹤成員茶不思飯不想，似乎對金在中和鄭允浩的秘密欲言又止。考驗著五個人的感情與默契，一切昭然若揭。(英文簡介下方有詳細大綱介紹和結局) 　　條目創建及簡介說明：tvxqmilk星夜桐影 　　After a photo shoot in a secluded, forested area, all five band members are told to rest in the house they are staying at. Xiah, who desperately wants to play football, drags Max outside to play with him. Both get hurt and are rescued by a mysterious girl, who provides a place for them to heal from their injuries. However, they soon discover that she will not let them leave. Back at the main house, Micky is in his own world, extremely worried about his lost band-mates. Hero, after reading a fan fiction about his supposed romantic relationship with U-Know, becomes anxious about why U-Know is suddenly being extremely nice to him. 　　東方神起五隻到一座古宅拍宣傳照。 　　期間，疲憊的鄭允浩打了一個大大的哈欠，被金在中用他的相機拍了下來。 （在中惡夢的開始） 　　半夜，在中進入車裡，發現允浩慌慌張張的。而後允浩遞給在中一本書，是關於他們兩個戀愛的故事。於是，在中開始幻想，他開始懷疑允浩是不是喜歡他。 　　[ 鏡頭轉向俊秀和昌珉 ] 　　金俊秀對足球的熱情不減，便約沈昌珉去踢球，昌珉讓他聽經紀人的話，俊秀於是以拍昌珉脫光衣服的睡相發在網路上相要挾，昌珉無奈地答應了，兩人潛出房子。 （中途遇上在中，在中還在為允浩的故事煩惱……） 　　踢足球時，足球滾下坡，兩人去拾，結果都掉下了山谷。 　　醒來後，發現自己躺在一個小屋裡，俊秀的胳膊、昌珉的腿都受了傷，這時進來了一個可愛的女孩——喜本。她說個宅子只她一個人住。而且她對東方神起一無所知。 　　[ 鏡頭轉向其他三隻 ] 　　允浩找樸有天談話，在中再次懷疑允浩喜歡他，想和有天聊。可是，有天一直在擔心失踪的俊秀和昌珉，一直面懷悲傷的表情。 　　在在中頭痛不已時，一個震驚的消息傳來：有位大叔在山下找到了俊秀的足球。 　　[ 鏡頭轉向俊秀和昌珉 ] 　　喜本無微不至的照顧俊秀和昌珉，俊秀似乎喜歡上了這個可愛的女孩。他們一起散步，聊天，俊秀唱歌給喜本聽（可憐的昌珉成了最累的電燈泡，還不時說一些中央鐵絲窗的笑話。）可是，昌珉發現這個屋子其實並不是只有喜本一個人住，里屋還住著一個穿白衣服的女孩！ 　　[ 鏡頭轉向其他三隻 ] 　　允浩1999年總是做一些奇怪的行動，讓在中更加懷疑這個“真相”——允浩喜歡他！ ！ 　　有天一直在擔心失踪的俊秀和昌珉，更加面懷悲傷的表情。 　　鏡頭轉向俊秀和昌珉 　　喜本承認了屋中還有另一個女孩，那是她抱病在身的妹妹。可是昌珉不信，在半夜時，昌珉打開了里屋，發現！ ！ ！ ！屋內貼滿的東方神起的海報。他大吃一驚！跑向房間的他，發現自己的腿根本沒有受傷！ ！ ！昌珉和俊秀了解到真相，急匆匆的逃跑，中途遇上了那個不知名的白衣女孩——喜本的妹妹。原來喜本的神經有些不正常，她為他們指了路，讓他們快些逃走。可是半路遇上了喜本，她用木棒將他們打昏了，並強行拖回了宅子，綁在了床上。 　　[ 鏡頭轉向其他三隻 ] 　　允浩越來越奇怪了，在中的日子越來越無奈。 　　這時警方發現了昌珉的鞋子，於是三隻決定去尋找昌珉和俊秀。 　　鏡頭轉向俊秀和昌珉 　　昌珉和俊秀在妹妹寶美的幫助下再次逃跑，逃跑之前，昌珉把自己的戒指交給寶美，告訴她等他們來帶她離開。可是逃跑計劃又一次的被喜本發現，她又一次想把他們砸暈，可是，及時趕到的三隻救了他們。允浩為在中擋過了喜本一棒。 　　結局： 　　五隻攜警方來到宅子，卻發現這是一個空宅，房中鋪滿白布，凌亂不堪。警方說15年前住過一對姐妹，姐姐神經有些問題。五隻發現了姐妹的合照，驚人的是妹妹的手上戴著昌珉的戒指！ ！ ！ 　　允浩與在中在後院解決心事，在中說了很多很感性的話，允浩不知所以然。原來是允浩為了刪除照片，將在中的照相機砸壞了。

東方神起出外景，金在中似乎向鄭允浩隱瞞著什麼秘密，金俊秀和沈昌珉神秘失蹤了。朴有天對兩位失蹤成員茶不思飯不想，似乎對金在中和鄭允浩的秘密欲言又止。考驗著五個人的感情與默契，一切昭然若揭。(英文簡介下方有詳細大綱介紹和結局) 　　條目創建及簡介說明：tvxqmilk星夜桐影 　　After a photo shoot in a secluded, forested area, all five band members are told to rest in the house they are staying at. Xiah, who desperately wants to play football, drags Max outside to play with him. Both get hurt and are rescued by a mysterious girl, who provides a place for them to heal from their injuries. However, they soon discover that she will not let them leave. Back at the main house, Micky is in his own world, extremely worried about his lost band-mates. Hero, after reading a fan fiction about his supposed romantic relationship with U-Know, becomes anxious about why U-Know is suddenly being extremely nice to him. 　　東方神起五隻到一座古宅拍宣傳照。 　　期間，疲憊的鄭允浩打了一個大大的哈欠，被金在中用他的相機拍了下來。 （在中惡夢的開始） 　　半夜，在中進入車裡，發現允浩慌慌張張的。而後允浩遞給在中一本書，是關於他們兩個戀愛的故事。於是，在中開始幻想，他開始懷疑允浩是不是喜歡他。 　　[ 鏡頭轉向俊秀和昌珉 ] 　　金俊秀對足球的熱情不減，便約沈昌珉去踢球，昌珉讓他聽經紀人的話，俊秀於是以拍昌珉脫光衣服的睡相發在網路上相要挾，昌珉無奈地答應了，兩人潛出房子。 （中途遇上在中，在中還在為允浩的故事煩惱……） 　　踢足球時，足球滾下坡，兩人去拾，結果都掉下了山谷。 　　醒來後，發現自己躺在一個小屋裡，俊秀的胳膊、昌珉的腿都受了傷，這時進來了一個可愛的女孩——喜本。她說個宅子只她一個人住。而且她對東方神起一無所知。 　　[ 鏡頭轉向其他三隻 ] 　　允浩找樸有天談話，在中再次懷疑允浩喜歡他，想和有天聊。可是，有天一直在擔心失踪的俊秀和昌珉，一直面懷悲傷的表情。 　　在在中頭痛不已時，一個震驚的消息傳來：有位大叔在山下找到了俊秀的足球。 　　[ 鏡頭轉向俊秀和昌珉 ] 　　喜本無微不至的照顧俊秀和昌珉，俊秀似乎喜歡上了這個可愛的女孩。他們一起散步，聊天，俊秀唱歌給喜本聽（可憐的昌珉成了最累的電燈泡，還不時說一些中央鐵絲窗的笑話。）可是，昌珉發現這個屋子其實並不是只有喜本一個人住，里屋還住著一個穿白衣服的女孩！ 　　[ 鏡頭轉向其他三隻 ] 　　允浩1999年總是做一些奇怪的行動，讓在中更加懷疑這個“真相”——允浩喜歡他！ ！ 　　有天一直在擔心失踪的俊秀和昌珉，更加面懷悲傷的表情。 　　鏡頭轉向俊秀和昌珉 　　喜本承認了屋中還有另一個女孩，那是她抱病在身的妹妹。可是昌珉不信，在半夜時，昌珉打開了里屋，發現！ ！ ！ ！屋內貼滿的東方神起的海報。他大吃一驚！跑向房間的他，發現自己的腿根本沒有受傷！ ！ ！昌珉和俊秀了解到真相，急匆匆的逃跑，中途遇上了那個不知名的白衣女孩——喜本的妹妹。原來喜本的神經有些不正常，她為他們指了路，讓他們快些逃走。可是半路遇上了喜本，她用木棒將他們打昏了，並強行拖回了宅子，綁在了床上。 　　[ 鏡頭轉向其他三隻 ] 　　允浩越來越奇怪了，在中的日子越來越無奈。 　　這時警方發現了昌珉的鞋子，於是三隻決定去尋找昌珉和俊秀。 　　鏡頭轉向俊秀和昌珉 　　昌珉和俊秀在妹妹寶美的幫助下再次逃跑，逃跑之前，昌珉把自己的戒指交給寶美，告訴她等他們來帶她離開。可是逃跑計劃又一次的被喜本發現，她又一次想把他們砸暈，可是，及時趕到的三隻救了他們。允浩為在中擋過了喜本一棒。 　　結局： 　　五隻攜警方來到宅子，卻發現這是一個空宅，房中鋪滿白布，凌亂不堪。警方說15年前住過一對姐妹，姐姐神經有些問題。五隻發現了姐妹的合照，驚人的是妹妹的手上戴著昌珉的戒指！ ！ ！ 　　允浩與在中在後院解決心事，在中說了很多很感性的話，允浩不知所以然。原來是允浩為了刪除照片，將在中的照相機砸壞了。

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。

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.

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.

流落多年的真千金白芷回到何家，使得假千金何香一夜之间失去所有。何香陷入封魔，绑架了白芷并与其交换容貌，假扮白芷回到未婚夫和母亲身边。而顶着何香脸的白芷，却遭遇到了不属于她的苦难，只祈求真相大白的一天

35岁的打工人简单意外进入人生循环，经历多次不同的人生：在平凡生活里发现微光，在病痛中体味人情，在追梦时重塑自我……当挚友遇险，她奋力营救，终领悟，人生意义藏于日常，系于羁绊，更在于每一个用心活过的当下。

如果能重活一次！那就再重活一次！