陈玄怀疑自己被假道士和二叔陷害致死，爷爷希望陈玄能帮他复仇，鸿蒙相尊，天命所归，大道已成。九龙附棺，神鬼莫怪。密术无敌，乾坤斗法！陈玄与唐语嫣一起相辅相成，双宿双栖，神仙眷侣，功到自然成，碾碎各种阴谋诡计。

东北小镇，白事先生张英豪和卖狐皮的王元顺意气相投。但背地里王元顺却与张英豪的媳妇李文红有染。李文红怀上了王元顺的孩子，王元顺决定杀死张英豪。然而他雇佣来的杀手竟屡屡失手。王元顺杀人不成反被杀手讹钱。无奈之下，他开始挑拨杀手们的关系……一年后，一具尸体惊现废井。警方确定王元顺有重大作案嫌疑。可王元顺却已离奇失踪，仿佛人间蒸发……

东北小镇，白事先生张英豪和卖狐皮的王元顺意气相投。但背地里王元顺却与张英豪的媳妇李文红有染。李文红怀上了王元顺的孩子，王元顺决定杀死张英豪。然而他雇佣来的杀手竟屡屡失手。王元顺杀人不成反被杀手讹钱。无奈之下，他开始挑拨杀手们的关系……一年后，一具尸体惊现废井。警方确定王元顺有重大作案嫌疑。可王元顺却已离奇失踪，仿佛人间蒸发……

This lyrical film opens with a quote from Irish mythology where Oisín describes Irish birdsong as ‘the sweetest in the world’ and urges us to ‘Stop and listen!’ What follows is a stunning, non-narrated depiction of Irish birds, animals and landscapes. Oisín was commissioned by the Department of Land of Ireland as a contribution to the European Conservation Year.

This lyrical film opens with a quote from Irish mythology where Oisín describes Irish birdsong as ‘the sweetest in the world’ and urges us to ‘Stop and listen!’ What follows is a stunning, non-narrated depiction of Irish birds, animals and landscapes. Oisín was commissioned by the Department of Land of Ireland as a contribution to the European Conservation Year.

借助中国官场传承千年的相人用人经验，教你在交友时明明白白、恋爱时甜甜蜜蜜、职场中轻轻松松。国内首档网络传统相学文化脱口秀——《相征》，让你一眼看穿人生精彩。

林家棟、古天樂二人執行任務其間，為還原真相招致全無退路，二人更陷入敵友難分的危險關係。為友情付出？還需看代價多少！香港国际影视展#林家栋和古天乐主演的[灭相]举行发布会，77mi.cc影片讲述二人本是很好的朋友，因为一次意外纠结在亦敌亦友的关系中，在寻求真相的过程中苦战。林家栋同时担任本片的监制与联合编剧，许玮甯在片中饰演古天乐的女友。

林家棟、古天樂二人執行任務其間，為還原真相招致全無退路，二人更陷入敵友難分的危險關係。為友情付出？還需看代價多少！香港国际影视展#林家栋和古天乐主演的[灭相]举行发布会，77mi.cc影片讲述二人本是很好的朋友，因为一次意外纠结在亦敌亦友的关系中，在寻求真相的过程中苦战。林家栋同时担任本片的监制与联合编剧，许玮甯在片中饰演古天乐的女友。

以中国官场千年相人用人经验之谈，教你如何明明白白交朋友，甜甜蜜蜜谈恋爱，轻轻松松混职场。首档网络传统相学文化脱口秀——《相征》，人生精彩，一眼看穿。

Afternoon Hearsay by Peng Zuqiang reflects on the nature of image-making and how cultural, historical, and political narratives are shared and circulated. Through voices, hearsay, and imagination, the film reconstructs a fragmented history of 8.75mm film—a unique format developed and produced exclusively in China between the 1960s and 1980s—and traces the faded paths of alternative cinematic spaces. Using cameraless techniques and photochemical abstraction, Peng meditates on disappearance and memory, posing the question: what is a film without a camera?