“狗屎生活”重来一次，他凭打猎逆袭成年代赢家！一觉醒来，男主竟重生回物资匮乏的70年代三水湾村，身上的疼痛、贫瘠的家境，无一不在提醒他这不是梦。面对一眼望到头的穷苦日子，他意外解锁打猎系统，箭无虚发擒猛兽，解锁神级技能赚得盆满钵满！从吃不上饭的穷小子，到凭打猎技能囤粮囤钱、护佑家人的村中传奇，他用实力打破命运枷锁，把别人眼中的烂牌打成王炸。热血打猎场面、暴富逆袭爽点、年代生活烟火气拉满，看重生男主如何在七零年代乘风破浪，把苦日子过成人人羡慕的精彩人生，全程高能无尿点！

林小丫上一世因为阻止哥哥吃发霉面粉做的馒头，被兄嫂赶到院子里活活冻死。重生后她冷眼旁观哥哥吃下发霉面粉做的馒头，然后中毒住院。没想到出院后，因为哥哥克扣嫂子生活费，嫂子又拿发霉面粉做馒头，这一次林光耀彻底丧命。林光耀一死，跟兄妹二人几乎没什么接触的三伯跳出来想吃绝户，被林小丫用智慧击退。林小丫本以为日子从此能平静下来，嫂子却将姘头带回家，甚至想将林小丫卖给光棍，林小丫从此开始了与张兰的持续争斗。

全民穿越航海世界，开局仅靠一个木筏、一根鱼竿艰难求生！别人为一口淡水、一块干粮拼尽全力，甚至自相残杀，我却觉醒概率百分百系统，直接开启躺赢模式！钓鱼必出珍稀海产，捞物资必获顶级装备，升级木筏速度快到离谱！别人还在浅海挣扎求存，我早已打造出豪华航海巨轮，囤满海量物资，带着专属系统环游大洋！遇风暴？系统自动规避！遭海盗？顶级武器一键秒杀！从一无所有的求生者，逆袭成垄断航海界的“资本大佬”，别人羡慕嫉妒恨，我却在享受沿途绝美海景！全程爽点密集，节奏飞快不拖沓，没有勾心斗角，只有极致的求生逆袭快感！看我如何凭百分百系统，在残酷航海世界躺赢全场，活成所有人都羡慕的模样！

现代中医硕士简宁熬夜猝死穿成古代180斤胖农女。原主给相公萧炎下药圆房，兴奋过度嗝屁，留给她的是家徒四壁的破屋、厌恶她的夫君，以及“人嫌狗弃”的烂名声。分家后，面对无粮无银的绝境，简宁发挥大力体质和现代知识，上山挖草药、做鱼丸、小龙虾赚钱，顺带疯狂减肥。她与萧炎从互相嫌弃到默契合作，打脸极品亲戚，靠手艺和智慧攒下家业，盖青砖瓦房，把日子过成全村羡慕的模样。在搞钱、虐渣、恋爱中意外实现躺赢人生。

库尔特（汤姆·希林 Tom Schilling 饰）的姨母曾经被关进过集中营，最终在纳粹医生卡尔（塞巴斯蒂安·科赫 Sebastian Koch 饰）的折磨下不幸死去。虽然库尔特幸运的在柏林墙建成之前逃往了西德，但他的整个童年时代都生活在纳粹的阴影之下，这给他的人格带来了极大的创伤。 　　之后，库尔特进入了杜塞道夫美术学院就读，无法走出过去阴影的他将内心的绝望和伤痛都挥洒在了画布之上。一次偶然中，库尔特邂逅了名为艾利（葆拉·贝尔 Paula Beer 饰）的女孩，美丽活泼的艾利渐渐的治愈了库尔特内心的伤痕，当两人鼓起勇气想要将关系再推进一步时，却遭到了艾利父亲的强烈反对。

库尔特（汤姆·希林 Tom Schilling 饰）的姨母曾经被关进过集中营，最终在纳粹医生卡尔（塞巴斯蒂安·科赫 Sebastian Koch 饰）的折磨下不幸死去。虽然库尔特幸运的在柏林墙建成之前逃往了西德，但他的整个童年时代都生活在纳粹的阴影之下，这给他的人格带来了极大的创伤。 　　之后，库尔特进入了杜塞道夫美术学院就读，无法走出过去阴影的他将内心的绝望和伤痛都挥洒在了画布之上。一次偶然中，库尔特邂逅了名为艾利（葆拉·贝尔 Paula Beer 饰）的女孩，美丽活泼的艾利渐渐的治愈了库尔特内心的伤痕，当两人鼓起勇气想要将关系再推进一步时，却遭到了艾利父亲的强烈反对。

Dream Work does not so much present dream content than filmic methods of representation corresponding to Freudian dreamwork: mechanisms of displacement and condensation are seen in relation to figurative elements found in Tscherkassky’s source material. Tscherkassky processes these in a manner that resembles Freud’s description of the compression (Pressung) of dream thoughts that takes place in the work of dreams, whereby “components are turned, crumble, and get pushed together, like drift ice.” 　　源自：https://www.filmfestival.gr/en/section-tiff/movie/1241/14624

Dream Work does not so much present dream content than filmic methods of representation corresponding to Freudian dreamwork: mechanisms of displacement and condensation are seen in relation to figurative elements found in Tscherkassky’s source material. Tscherkassky processes these in a manner that resembles Freud’s description of the compression (Pressung) of dream thoughts that takes place in the work of dreams, whereby “components are turned, crumble, and get pushed together, like drift ice.” 　　源自：https://www.filmfestival.gr/en/section-tiff/movie/1241/14624

For every movie made, dozens of pictures remain missing forever. MISSING PICTURES gives directors a chance to tell the story that would otherwise never be told. Each episode invites one filmmaker to narrate some key points of the movie, why the movie was so important for them at the time and why it was never made. 　　Episode 1: Abel Ferrara, Birds of Prey (USA) 　　In this episode, we meet long-time independent American filmmaker Abel Ferrara. ‘Birds of Prey‘ would have been the political thriller of his dreams…until it all fell apart. The neo-noir, provocative director behind movies like Ms. 45 (1981) and Bad Lieutenant (1992), takes us with him on a journey through the heart of his unfinished story based in the 70’s New York City. 　　Episode 2: Tsai Ming-Liang, The Seven-Story building (Taïwan) 　　Tsai Ming-Liang, the Taiwanese maestro of slow cinema, doesn’t have a real “missing picture”, but what he does have are childhood memories, so vivid that it is impossible for him to film. The filmmaker seizes the medium of virtual reality to go back to the Malaysia of his childhood, when his grandparents took him to see two movies every night. Rather than telling us about an unmade film, Tsai Ming-Liang transforms the exercise into a making-of of his entire film career. 　　Episode 3: Catherine Hardwicke, The Monkey Wrench Gang (USA) 　　After Twilight Chapter 1’s huge box-office hit, American filmmaker Catherine Hardwicke tried to make an adaptation of The Monkey Wrench Gang by Edward Abbey, a cult book of the 70s American counterculture and a precursor of eco-activism. The director revisits this project which excited her so much and which became, because of the reluctance of the Hollywood studios, one of these umpteenth “ghosts of the garage”. 　　Episode 4: Lee Myung-Se, Father is gone (South Korea) 　　Father is gone could have been Lee Myung-se’s debut film, but slipped into a long hiatus instead. After thirty years busy directing unprecedented features in Korea like First Love or Nowhere to Hide, Lee finally brings the lost project back to life through virtual reality. Set against the backdrop of a family of three moving to the outskirts of Seoul in the 1960s – where the director himself grew up – Father Is Gone questions the place of the father in the traditional Korean culture. 　　Episode 5 : Naomi Kawase, Oh Debu (Japan) 　　The most celebrated female filmmaker from Japan revisits a project that she envisioned after her 2015 film Sweet Bean. Oh Debu tells the story of Aya, a 27-year-old, overweight and over romantic woman. Through this story, Naomi Kawase wanted to give herself a challenge trying to make a comedy, far from her naturalist, poetic previous work.