每集节目开场，主持人走进“报案人”家中，带领观众以第一视角感受“报案人”所面临的《宠物行为问题》。随后，主持人与训犬师 Eric Ko 会合，解读《宠物行为问题》背后的成因。接着，他们会制定解决方案，并前往事发现场处理问题，指导“报案人”找出问题背后的真正原因，运用正面训练法，学习怎样与宠物更好地相处。最后，主人们亲自实践后，问题迅速得到改善，还学会了训练方法。节目还会邀请艺人及歌手，分享宠物狗如何让他们的生活变得更加丰富多彩，并邀请 Eric Ko 协助他们训练宠物狗掌握一些特殊技能。

每集開始，主持人走進「報案人」家庭，讓觀眾以第一身體驗「報案人」面對的《寵物行為問題》，之後主持與練狗師 Eric Ko 會合，解讀《寵物行為問題》背後的原因，再計劃好方案，出動到事發現場處理問題，指導「報案人」找出問題背後真正原因，用正面訓練方法，學習如何可以和寵物之間相處得更好。最後，主人們親身實踐後，問題迅速得到改善，亦學會訓練的方法。節目亦會找來藝人及歌手，分享寵物狗如何令他們生活變得更多姿多彩，並邀請 Eric Ko 協助他們訓練寵物狗一些特別技能。

it was interesting to see the acrobatic Japanese actors of the Tenjosajiki company in Shuji Terayama’s Directions to servants. The title and some of the text were taken from Swift’s satire, but the main inspiration seemed to come from Genet’s Les bonnes. Multiplying the maids into a large cast of servants, male and female, who take it in turns to imitate the master, Tereyama has physicalized and partly mechanized the action. Domination is imposed partly through machines—we see a man submitting to an imperious voice on a tape recorder, lowering his trousers and climbing inside a sadistic machine that beats his bare buttocks. 　　The ingenuity, the sadism and the offbeat humour are all characteristic of the production. The main cruelty to the audience was in the over-amplification of J.A. Seazer’s music. I sat with my hands over my ears for a lot of the time. The visual assault was almost equally strong, and some of the theatrical imagery was quite unlike anything that had been seen in this country. In one meticulously choreographed sequence the servant playing at being master throws a bone to a succession of servants who play at being dogs. In another, a servant trying to steal food from a cupboard is terrified to find that it is like a puzzle: each panel conceals a face that sings at him accusingly, and he can silence it only by sliding a panel that reveals another singing face.

父亲包著石膏躺在客厅沙发，不愿卸下患者的身份，胜文在驾训班教练车内盯著一旁的教练，他不想面对家裡以及不断在逃避的父亲，但似乎也无法面对身旁这位教练，渐渐的，胜文融入了他父亲的倒影。

一个小男孩和父亲生活在一起，很显然，母亲已经去世。 　　家里有一只病入膏肓的狗，父亲不忍看到狗被疾病折磨得难受的样子，曾经弃狗，狗还是回来了，给兽医打电话，仍然无果……

南非的庄园中，黑人男孩特贝尔（Anele Vellom 饰）得到一条小狗，他俩很快成为好朋友，每天快乐地在庄园中玩耍。庄园的白人领主尤昂尼斯（Danny Keogh 饰）是个冷酷、无情的家伙，他把小狗放入麻袋，狠狠虐待了一番。这让特贝尔十分伤心，他和小狗的关系从此疏远。 　　转眼十多年过去，特贝尔（Lizo C. Makambi 饰）已经长成结实的男人，童年的伙伴也成为一条勇猛的大狗。某天，主仆俩带着狗去修筑篱笆，尤昂尼斯突然感到不适，这时一件意想不到的事情发生了…… 　　本片获2003年奥斯卡最佳真人短片奖提名。

A teenage girl gets ready to go out to meet her boyfriend, despite her mother's loud verbal disapproval of her clothes. She goes out to a deserted area with him and he begins to touch her up and have sex with her, however a dog reveals the true nature of her boyfriend.

A teenage girl gets ready to go out to meet her boyfriend, despite her mother's loud verbal disapproval of her clothes. She goes out to a deserted area with him and he begins to touch her up and have sex with her, however a dog reveals the true nature of her boyfriend.

唯唯諾諾、庸庸「魯魯」的無用中年賈克最近諸事不順，老婆突然抱怨自己對他過敏，孩子默不吭聲坐視老爹被掃地出門，工作還被年輕屁孩取代，銀行帳戶慘遭凍結，連用最後現金購買的狗兒都意外與他永別。當寵物床墊與犬訓課程成為他僅剩的資產和歸屬，在訓練師的權威喝斥之下，他竟然半推半就地服從起「坐下」、「趴下」及「起立」等指令，以職業家犬的身分開始了人生與事業的第二春⋯⋯。 　　曾以《寂寞心房客》驚豔坎城影展的作家導演山繆班傑奇再展細膩筆觸，改編自己的小說，以天馬行空的犀利筆觸狠剖現代社會的變態與疏離。找來《花神咖啡館》裡的堅毅慈母凡妮莎巴哈迪板起面孔，巧扮冷血狠妻，將可憐丈夫推入「狗」坑。衰尾主角的絕望處境在黑色幽默的濾鏡中映現出自我救贖與人性光暈，宛若法國版阿基郭利斯馬基。

唯唯諾諾、庸庸「魯魯」的無用中年賈克最近諸事不順，老婆突然抱怨自己對他過敏，孩子默不吭聲坐視老爹被掃地出門，工作還被年輕屁孩取代，銀行帳戶慘遭凍結，連用最後現金購買的狗兒都意外與他永別。當寵物床墊與犬訓課程成為他僅剩的資產和歸屬，在訓練師的權威喝斥之下，他竟然半推半就地服從起「坐下」、「趴下」及「起立」等指令，以職業家犬的身分開始了人生與事業的第二春⋯⋯。 　　曾以《寂寞心房客》驚豔坎城影展的作家導演山繆班傑奇再展細膩筆觸，改編自己的小說，以天馬行空的犀利筆觸狠剖現代社會的變態與疏離。找來《花神咖啡館》裡的堅毅慈母凡妮莎巴哈迪板起面孔，巧扮冷血狠妻，將可憐丈夫推入「狗」坑。衰尾主角的絕望處境在黑色幽默的濾鏡中映現出自我救贖與人性光暈，宛若法國版阿基郭利斯馬基。