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。

不幸的事情接二连三地落到平凡的家庭主妇盼淑头上：丈夫背叛、交通肇事逃逸事故夺去了她唯一的年幼的儿子的性命。坎坷的经历使她对生活绝望，这时，一个比她小6岁的男人东宇偶然间闯入她的生活。东宇是一位未婚爸爸，为人热情，外形帅气，是一家健身俱乐部里很受欢迎的健身教练。盼淑和东宇二人陷入了火一般热烈的爱情中。 　　然而，爱情的背后似乎隐藏着一个天大的秘密，二人被逼到了爱的悬崖边……但是盼淑作为女人的自信被爱唤醒，她开始勇敢地面对生活。他们间的爱情果真不可原谅吗？ 　　本剧试图通过一个普通女子的经历来描绘遭遇极端状况的爱情，揭示爱的真谛，带给人们感动。剧中的几位主人公纠葛于过去与现实的感情及观念的对立中，使得全剧戏剧元素充足，可看性强。而对寻常百姓生活的真实描绘则让人在不知不觉间产生共鸣。 　　曾在《爱情与欲望》中出色地塑造了土气又搞笑形象的实力派明星秋尚美本剧中素面出镜，饰演遭遇丧子之痛的离婚女人盼淑，她细腻的表演、于细微处流露出的母爱深深地感染着无数的观众。与秋尚美搭档的是时装模特出身的赵东赫，其明快帅气的形象则令人为之眼前一亮。

不幸的事情接二连三地落到平凡的家庭主妇盼淑头上：丈夫背叛、交通肇事逃逸事故夺去了她唯一的年幼的儿子的性命。坎坷的经历使她对生活绝望，这时，一个比她小6岁的男人东宇偶然间闯入她的生活。东宇是一位未婚爸爸，为人热情，外形帅气，是一家健身俱乐部里很受欢迎的健身教练。盼淑和东宇二人陷入了火一般热烈的爱情中。 　　然而，爱情的背后似乎隐藏着一个天大的秘密，二人被逼到了爱的悬崖边……但是盼淑作为女人的自信被爱唤醒，她开始勇敢地面对生活。他们间的爱情果真不可原谅吗？ 　　本剧试图通过一个普通女子的经历来描绘遭遇极端状况的爱情，揭示爱的真谛，带给人们感动。剧中的几位主人公纠葛于过去与现实的感情及观念的对立中，使得全剧戏剧元素充足，可看性强。而对寻常百姓生活的真实描绘则让人在不知不觉间产生共鸣。 　　曾在《爱情与欲望》中出色地塑造了土气又搞笑形象的实力派明星秋尚美本剧中素面出镜，饰演遭遇丧子之痛的离婚女人盼淑，她细腻的表演、于细微处流露出的母爱深深地感染着无数的观众。与秋尚美搭档的是时装模特出身的赵东赫，其明快帅气的形象则令人为之眼前一亮。

女を拉致し、自由を奪っておきながら、絶対にSEXはせず、女のヌード写真を撮影したり、バナナとかの小道具でオナニーをさせてその声を録音することのみで性的満足を得ている変態男の性行動を描いた異色作。

改编自广山弘原作的《Fate/stay night》外传漫画《Fate/kaleid liner 魔法少女☆伊莉雅 3rei!!》第7卷内容。剧情作为电视动画《Fate/kaleid liner 魔法少女☆伊莉雅》的前传，“平行世界”中卫宫士郎和美游两兄妹的故事。 　　“我想我可以说出来了。我与美游的……至今为止的故事” 　　世界向着毁灭前进。能够阻止毁灭的步伐的，唯有身为“圣杯”的美游的牺牲而已。要选择世界，还是美游——。面对发起“世界的救济”的恩兹华斯所提出的这个问题，伊莉雅给出的答案是，“拯救双方”这种单纯的“任性”。 　　战斗迎来暂时的休止，一行人暂时栖身于美游与士郎成长的家中。在众人团聚的途中，士郎开始讲述自己与美游的过去。 　　曾经能够无差别地实现任何愿望的神稚儿美游。士郎将无家可归的她带回了自己与切嗣一同生活过的家里。在那之后过了5年。两人如同亲兄妹一般度过着平稳的生活。 　　但是这样的日常却突然迎来了结束。造访美游老家的两人。在他们的面前，将美游当成“奇迹”地追求的朱利安出现了——。 　　美游与士郎、恩兹华斯的因缘，在此揭晓。

“我想我可以说出来了。我与美游的……至今为止的故事”世界向着毁灭前进。能够阻止毁灭的步伐的，唯有身为“圣杯”的美游的牺牲而已。要选择世界，还…

星星愛上了大海，卻註定了永遠也得不到回應。這是一個寫給大人的繪本故事，講述人們在生命中總是有那麼幾次，被困在一段沒有回應的關係裡，載浮載沉。

The Power of Emotion explains that emotion isn't to be confused with sentimentality. Emotion is ancient and more powerful than any art form. The film looks at young couples who run into difficulties as they try to translate their experiences of love into clear decision-making. A woman who has shot her husband provides a judge with a puzzle. Those who love can bring the dead back to life by means of co-operation. That's the focus of the opera, "The Power Plant of Emotions" and the "Opera of the 20th Century" cinema. 　　Alexander Kluge: The Power of Feeling 　　When I started working on The Power of Feeling, I was not in a rational state. I did not say, I have a subject and now I will make a film about it. Instead I was spellbound and observed in my direct surroundings, for example, how feelings move. I have not really dealt with the theme of my mother's death and the fact that she was the one who taught me "how feelings move." Nor have I dealt with how she died. That was an entire palette of feelings: "All feelings believe in a happy end," and everyone believes tacitly that they will live forever: The entire palette is somehow optimistic, a positive attitude towards life having been put on the agendaas long as she was young, as long as her body held out, from one day to the next she collapsed. She just suddenly collapsed, like in an opera where disaster takes the stage in the fifth act. It felt as if I had observed an air raid or a disaster. 　　The film The Power of Feeling is not about feelings, but rather their organization: how they can be organized by chance, through outside factors, murder, destiny; how they are organized, how they encounter the fortune they are seeking.What is all this organization of feelings about? Generally feelings tend to be a dictatorship. It is a dictatorship of the moment. The strong feeling I am having right now suppresses the others. For thoughts this would not be the case. One thought attracts others like a magnet. People therefore need affirmation by other people to be sure about their own feelings (to counteract the acquisition of their feelings through outside forces). Through the interaction of many people, for example, in public, the various feelings also have a magnetic attraction to one another just like thoughts do. Feelings communicate through their manifestation in public. 　　The cinema is the public seat of feelings in the 20th century. The organization is set up thusly: Even sad feelings have a happy outcome in the cinema. It is about finding comfort: In the 19th century the opera house was the home to feelings. An overwhelming majority of operas had a tragic end. You observed a victim. 　　I am convinced that there is a more adventuresome combination: Feelings in both the opera and traditional cinema are powerless in the face of destiny's might. In the 20th century feelings barricaded themselves behind this comfort, in the 19th century they entrenched themselves in the validity of the lethal seriousness.

The Power of Emotion explains that emotion isn't to be confused with sentimentality. Emotion is ancient and more powerful than any art form. The film looks at young couples who run into difficulties as they try to translate their experiences of love into clear decision-making. A woman who has shot her husband provides a judge with a puzzle. Those who love can bring the dead back to life by means of co-operation. That's the focus of the opera, "The Power Plant of Emotions" and the "Opera of the 20th Century" cinema. 　　Alexander Kluge: The Power of Feeling 　　When I started working on The Power of Feeling, I was not in a rational state. I did not say, I have a subject and now I will make a film about it. Instead I was spellbound and observed in my direct surroundings, for example, how feelings move. I have not really dealt with the theme of my mother's death and the fact that she was the one who taught me "how feelings move." Nor have I dealt with how she died. That was an entire palette of feelings: "All feelings believe in a happy end," and everyone believes tacitly that they will live forever: The entire palette is somehow optimistic, a positive attitude towards life having been put on the agendaas long as she was young, as long as her body held out, from one day to the next she collapsed. She just suddenly collapsed, like in an opera where disaster takes the stage in the fifth act. It felt as if I had observed an air raid or a disaster. 　　The film The Power of Feeling is not about feelings, but rather their organization: how they can be organized by chance, through outside factors, murder, destiny; how they are organized, how they encounter the fortune they are seeking.What is all this organization of feelings about? Generally feelings tend to be a dictatorship. It is a dictatorship of the moment. The strong feeling I am having right now suppresses the others. For thoughts this would not be the case. One thought attracts others like a magnet. People therefore need affirmation by other people to be sure about their own feelings (to counteract the acquisition of their feelings through outside forces). Through the interaction of many people, for example, in public, the various feelings also have a magnetic attraction to one another just like thoughts do. Feelings communicate through their manifestation in public. 　　The cinema is the public seat of feelings in the 20th century. The organization is set up thusly: Even sad feelings have a happy outcome in the cinema. It is about finding comfort: In the 19th century the opera house was the home to feelings. An overwhelming majority of operas had a tragic end. You observed a victim. 　　I am convinced that there is a more adventuresome combination: Feelings in both the opera and traditional cinema are powerless in the face of destiny's might. In the 20th century feelings barricaded themselves behind this comfort, in the 19th century they entrenched themselves in the validity of the lethal seriousness.