故事发生在纽约长岛，大企业家亚瑟（E.G.马绍尔 E.G. Marshall 饰）和同样事业有成的妻子伊芙（杰拉丹·佩姬 Geraldine Page 饰）就居住在这里，两人膝下有子女三名——蕾娜达（黛安·基顿 Diane Keaton 饰）、乔伊（玛丽·贝丝·赫特 Mary Beth Hurt 饰）和芙琳（Kristin Griffith 饰）。　　身为家中的长女，蕾娜达是一位小有名气的诗人，然而，天性浪漫的她却没能拥有一段幸福的婚姻。次女乔伊嫁给了一名电影导演，虽然心中怀揣着文学梦想，但现实中，她不得不做一个跟在丈夫身后的全职太太。小女儿芙琳渴望成为一名演员，但是现实和理想的差距却让她的心中充满了焦虑。亚瑟和伊芙将三个女儿召回了家中，因为他们要宣布一件非常重要的事情——分居。

　　入围2019年全州计划。讲述一个男人与不同人交谈后，经历了一系列的心境变化。

　　

　　NetFlix上架的尼日利亚影片。当阿达泽的父亲生病时，她与叔叔一起继续经营家族生意，并在男性主导的世界里证明自己。

　　話說一對名為大不良（楊群）、小不良（苗僑偉）的男子，劫走了一前往西方國家,準備參加飛行競賽的熱氣球，卻因氣流侵襲而降落三不管地帶的妓院！　　三不管地帶烏煙瘴氣卻又十里洋場兼而有之，其中最風靡四周的，是一所以奇技表演引人入勝見稱之妓院。妓院老闆娘常念奴（李司棋）對《催眠術》、《傳心術》、魔術及一切中西文化甚有心得，眾人皆對她大表傾慕。此時正值歲晚，奴占卜得知禍害將至，但只要容納禍害便可讓災害化險為夷。奴因此私下收留了乘坐異物兼身份不明的大小不良。　　大小不良精靈滑頭，在妓院大受歡迎，更惹得眾妓為他們爭風吃醋，奴為此大傷腦筋。與此同時，妓院又來了一個記憶全失的絕色少女（馮寶寶），官府亦加緊追查異物及大小不良的行蹤。一切風月奇情怪事亦隨之而生...　　分集劇情：　　第一集　　話說琉球群島之一個氣球，準備前往西方國家參加飛行競賽，但因遇氣流侵襲，發生意外，被逼降落臺灣海岸。大小不良二人遭日人追殺，於是趁機抓著氣球升上高空，氣球一直飄至中國沿海地帶，被當地農民誤爲怪物，紛紛走避。　　妓寨的主持人常念奴，對鬼神之事十分迷信，所以當祥林嫂不慎將呂祖爺靈位推倒，也被念奴責駡。最近，念奴心緒不寧，認爲必有怪事發生，除往占卜問卦外，還命衆人處處小心，這時氣球一直飛至念奴居所，將靈犀、相思、元寶、金錠等嚇至驚惶失措，立刻跑往告訴念奴，後氣球被吹往陽臺，金錠、元寶用棍敲打藤籃，小不良一個不小心跌出藤籃外。　　念奴質問二人來歷，大小不良詐作言語不通，用手語交談，令衆人摸不著頭腦；恰巧官兵經過，念奴準備將二人交給官府，及後方醒起占卦之事，以爲二人乃白虎天狗臨門，急忙將二人藏在地牢。　　官兵巡至念奴居，念奴等人極力掩飾氣球之事。　　第二集　　淑人到地窖浴池洗澡，大小不良以爲畢專員等官兵回頭抓捕二人，立刻潛入水中，但因呼吸困難，二人先後冒出水面，淑人嚇暈。　　念奴爲免大小不良逃走，將二人用手扣鎖著，大小不良知橫眉能用勾魂眼移動物件，遂請求橫眉替二人解開手扣，但橫眉怕念奴責怪，不肯答應，大小不良無法，只好自行施展功夫脫困。脫困後，潛出地牢，無意中看見寨中各人練功情況，知衆妓女技藝不凡，因此處處小心。　　樹林中時有黑色物體閃過，祥林嫂以爲苦兒未死，但念奴十分懷疑，金錠、元寶獻計，捕捉黑色物體。　　一日，念奴居招待外國遊客，命祥林嫂預備酒菜，祥林嫂在廚房發現泥人腳印，及後泥人野孩子被元寶所設之陷阱所困，倒吊在樹上，及後方知野孩子原來是女兒身。　　另一方面，念奴又發覺日間道貌岸然的畢專員，夜間則變成喜歡讓人使喚的怪人，令念奴摸不出頭腦。　　第三集　　蓮葉、蓮蓬替野孩子梳洗一番，穿上樸素的女服，念奴赫然驚爲天人，尤其野孩子一雙大眼睛硲硲生光，令人神往；但念奴追問野孩子的身世時，野孩子毫無反應，後更放聲大哭，各人猜想野孩子身世可憐，而淑人則懷疑野孩子乃其故鄉蟾蜍之妹，卻找不出證據。　　大小不良在相思及靈犀面前講述舊事，故意編造英雄事艫，令衆婢女十分傾慕，元寶及金錠不值大小不良被崇拜，常設計捉弄二人。　　野孩子到火爐找回泥衣，被小不良發覺跟蹤而至，並搶去泥衣內的物件，野孩子氣急敗壞，一怒而去。　　念奴爲追查野孩子身世，將催眼藥讓野孩子服食，但一無所獲。不過衆人從野孩子的說話中，懷疑野孩子是殺人犯。　　念奴丈夫盧有劍漏夜歸來，念奴對盧十分忌諱，卻仍對盧裝出關心的樣子，念奴居內上下人等聽聞盧甫歸，紛紛到來拜見。　　第四集　　念奴與盧有劍傾談之際，野孩子突走進堂中，盧見野孩子目光呆滯，心感奇怪，念奴將野孩子的來情一一告之，希望盧將野孩子的面貌繪畫，發散給附近數縣，找尋野孩子的親人。　　盧有劍欲得氣球之蹤迹，於是著手追查，念奴本早知氣球及大小不良收在念奴居，但因爲盧在錢銀上有所爭執，不肯告知，讓盧空手而去，並吩咐各人不准對任何人說出氣球之事。　　一日，野孩子找大小不良，希望小不良能助其追查身世，因爲她對往事，毫無記憶，但小不良卻說事不關己，己不勞心，沒有理會她。　　念奴居安裝電線，衆人感好奇，紛紛前往觀看，不久即燈火通明，衆人一陣歡呼。　　念奴鑒於年近歲晚，發生種種不祥之兆，於是到慈航庵請求大師指點迷津，豈料遇見畢專員及其妻子正在上香。　　第五集　　畢妻阿琴昔日已與念奴相識，但礙於身分，並有侍女在旁，不敢相認，及後畢妻譴走侍婢，與念奴略談舊事，但念奴表現不安之色。　　盧見念奴自製的骽卷被隨處抛棄，懷疑念奴與他人相好，於是向淑人追問，淑人一時啞口無言，幸金錠人急智生，詐稱骽卷乃被人偷去，盧始息怒意。　　一道士沖入念奴居，表示進來除去妖魔鬼怪，橫眉一直尾隨道士往後山，道士將兩包藥粉交給橫眉，謂藥粉可除去女小人，橫眉深信不疑。原來道士乃琴派去，欲以藥粉害死念奴。　　姚副官帶同兵士到河中打撈一洋人屍體，並向念奴探問線索，但念奴毫不知情。　　野孩子原來懂得彈琴，念奴認爲仍有可取之處，安派野孩子在姚副官跟前表演，博得姚之讚賞。　　野感納悶，到河邊呆坐，忽見一大布袋飄流而至，於是與小不良拆開布袋細看，赫然發現一衣著名貴的女屍藏於布袋內，喚起野孩子的記憶。　　第六集　　野孩子從女屍胸前拔出硬物，一看竟是長約五寸的金屬條，惹起野孩子一陣思潮起伏，想起前塵往事，悲從中來，不禁淚如雨下，但爲免小不良察覺，強裝若無其事，同時二人爲免惹禍上身，合力掘開泥地埋藏女屍，並取去女屍身上名貴飾物。　　姚副官威逼利誘，要念奴作媒，收野孩子爲黑市夫人，以傳宗接代，但野孩子堅決不肯答應，幸翩翩及雙飛將姚灌醉，並由念奴設計，命野孩子詐稱當晚已成好事，懷有姚之骨肉，以暫避姚之苦纏。　　橫眉與念奴不和，暗把道士的藥粉落在念奴的藥中，念奴喝後，欲火焚身，向大不良投懷送抱。不久祥林嫂的瓜田又遭受蟲害，念奴知是琴所爲，十分憤怒。　　野孩子與小不良日久生情，一起與衆人往河上垂釣，各人正在暢遊之際，上官夢魂突然出現，野孩子一見夢魂，立刻發足狂奔。　　夢魂到念奴居中說出野孩子的身世，小不良知夢魂原爲野的舊情人，十分傷心。　　第七集　　琴對念奴仍懷恨在心，派兩名軍官到念奴居，假稱要念奴往官府答問有關氣球之事。念奴不虞有詐，跟兩人離去，豈料到達一荒地後，被兩人紮起吊在樹上，虐待一番，琴更指責念奴虐待畢專員，雖然念奴道出畢患有怪病，但未獲琴相信，後來還在樹的周圍放火。　　小不良見念奴遲遲未返，以爲念奴已把收藏二人的事招供，欲乘夜逃走。逃走時，小不良想從念奴的八寶箱中取回女屍飾物，被元寶及金錠阻止，同時上官夢魂亦來到，企圖搶去小不良手上飾物，及試探飾物的來源，但不得要領。　　大小不良知盧有劍歸來，逃跑至山林，忽見念奴俯伏在地上，原來念奴被琴折磨一番後，終被釋放，念奴知盧回來並非好事，於是立刻趕返念奴居。　　盧知念奴原來一早已把氣球及大小不良收藏於地牢，十分氣憤，念奴又指責橫眉放走大小不良，橫眉反唇相譏，指念奴與人鬼混，盧本氣上心頭，幸金錠、元寶替念奴解圍，盧氣難下，不久即離開念奴居。　　第八集　　野孩子希望念奴主持正義，對付上官夢魂。於是念奴假作招魂上身，逼上官說出實情，才知河上的女屍乃夢魂所殺，野孩子痛恨上官的爲人，對之斥責一番，但上官仍咄咄逼人，野孩子引夢魂跳入魔術箱，由金錠及元寶設陷阱將夢魂沖出大海。　　相思、靈犀吃下橫眉的藥後，翌日臉上即起了一大黑眼圈，念奴雖知是橫眉所爲，卻無能爲力。　　念奴爲琴所逼，預備新年後暫停營業，直至畢專員夫婦離去後才重張旗鼓，淑人爲此事十分傷心，對著畢抱頭痛哭，琴知畢夜間到念奴居被淑人鞭打，於是女扮男裝到念奴居帶畢離去，琴一見畢怪模樣，十分氣憤，並向淑人發泄怒氣，一劍刺向淑人，卻陰差陽錯下反刺中自己，暈倒地上，琴醒來後，畢與之一起離去。　　橫眉對相思及靈犀之事感到內疚，於是向念奴道歉，並決意離開念奴居。　　第九集　　相思、靈犀眼病痊愈後，請求念奴撮合她們與元寶及金錠好事，獲念奴答允後，快慰異常。另方面大小不良經過多日修補氣球後，已將氣球修理好，準備新年後另往別地方。　　年廿八之夜，盧有劍遲遲未返，念奴更是心煩意亂。而小不良與野孩子因爲上官夢魂的事，至今仍耿耿於懷，小不良更對野孩子出言侮辱，野孩子怒不可遏，怒摑小不良，小不良方感歉意。　　橫眉在火車上遇見盧有劍，但橫眉不敢回念奴居，只托盧向各人問好。盧返念奴居後，向念奴提出要暫時到康港避風頭，念奴不料有此一著，喜出望外，而淑人因終日悶悶不樂，盧答應帶淑人同往康港散心，念奴亦樂得擺脫盧，臨行囑咐淑人及橫眉照顧盧。　　念奴知小不良對野孩子念念不忘，於是設計撮合二人好事。　　第十集（大結局）　　常念奴與野孩子爲要試探小不良的誠意，便施行苦肉計，由念奴當著良面前把野孩子推下火車，小不良中計，終日鬱鬱寡歡，大不良冷眼旁觀，知悉常念奴的計謀，要念奴對小不良說出真話。念奴見小不良對野孩子真的是情深一片，便對小不良說出野孩子藏身之所，小不良飛奔趕往相見，經此一事，二人間之感情更爲鞏固，並計劃一同乘氣球遠走他方。　　另一方面，大不良與常念奴早已暗生情愫，但卻又不敢把真情流露。此時，祥林嫂的叔伯要把她捉回去改嫁，祥林嫂便向念奴求助。大不良見狀，乘機討念怒歡心，把祥林嫂之叔伯教訓一頓。但念奴卻仍不爲所動保持其冷傲。　　大不良見念奴不爲所動，便與小不良乘氣球離去。起飛之際，念奴終忍不住內心感情，懇求大不良留下，但此時氣球早已飄遠，同時，野孩子苦候亦不見小不良蹤影，心灰意冷，獨自離去，到底常念奴、野孩子與大小不良這兩對歡喜冤家能否終成眷屬，請留意收看大結局。

　　泰剧《名门绅士2：淑女之心》是泰国三台庆祝电视台成立52周年的项目。讲述名门绅士五部曲五大少的后代们的爱情故事（大少2个孩子，二少1个孩子，三少2个孩子，四少2个孩子，五少4个孩子）。续作依然是由五部曲组成，分别由五家公司进行制作。每部预计12-15集，每集约80分钟。　　Jaipisut #ใจพิสุทธิ์  Metta and Mahaniyom制作　　五少儿子跟父亲一样做了一位军人，偶遇了一位超级美丽的老师，却不曾想她竟然是小时候那个丑胖无比的妞，关键还曾被他欺负过......

　　闪烁在指间的星光，会造成伤害，还是温暖的守护？富二代白曦和好友刘春春遭遇离奇车祸，随后出现的助理韩卓，实则是有神秘能力的贴身保镖，知名画廊反常的用优渥条件邀请刘春春开画展，紧接出现的保镖王远辰，身世似乎也扑朔迷离，四人身边危机四伏，随着画展的临近，背后的真相开始慢慢开始浮出水面……

　　“比家美”旅店的经理二子（陈佩斯 饰）经历一番风雨，终于将旅店搞得有声有色。不料二虎的一根筋却令他处处不讨好，一次听音乐会时遇到工商局的老齐没有票却不懂得让票，张大菊趁机让票讨好。没几天，张大菊的“菊香”旅店在“比家美”对面开张了，“菊香”旅店利用一批美貌妖艳的女子吸引顾客，“比家美”生意大幅下跌。二子为了对抗“菊香”，借钱重新装修旅店，岂料麻烦一个接一个……

　　讲述的是1997年金融风暴时，生意失败的一家之主尚勋（崔成国 饰）与高利贷业者（李准赫 饰）之间惊人的债务关系与令人哭笑不得的人生喜剧故事，

　　Voice 1 (male "professional announcer" type): This neighborhood(1) was made for the wretched dignity of the petty bourgeoisie, for respectable occupations and intellectual tourism. The sedentary population of the upper floors was sheltered from the influences of the street. This neighborhood has remained the same. It was the strange setting of our story, where a systematic questioning of all the diversions and works of a society, a total critique of its idea of happiness, was expressed in acts.　　These people also scorned "subjective profundity". They were interested in nothing but an adequate and concrete expression of themselves.　　Voice 2 (Debord, monotone): Human beings are not fully conscious of their real life - usually groping in the dark; overwhelmed by the consequences of their acts; at every moment groups and individuals find themselves confronted with results they have not wished.　　Voice 1: They said that oblivion was their ruling passion. They wanted to reinvent everything each day; to become the masters and possessors of their own lives.　　Just as one does not judge a man according to the conception he has of himself, one cannot judge such periods of transition according to their own consciousness; on the contrary, one must explain the consciousness through the contradictions of material life, through the conflict between social conditions and the forces of social production.　　The progress achieved in the domination of nature was not yet matched by a corresponding liberation of everyday life. Youth passed away among the various controls of resignation.　　Our camera has captured for you a few aspects of a provisional microsociety.　　The knowledge of empirical facts remains abstract and superficial as long as it is not concretized by its integration into the whole "” which alone permits the supersession of partial and abstract problems so as to arrive at their concrete essence, and implicitly at their meaning.　　This group was on the margins of the economy. It tended toward a role of pure consumption, and first of all the free consumption of its time. It thus found itself directly engaged in qualitative variations of everyday life but deprived of any means to intervene in them.　　The group ranged over a very small area. The same times brought them back to the same places. No one went to bed early. Discussion on the meaning of all this continued...　　Voice 2: "Our life is a journey "” In the winter and the night. "” We seek our passage..."�　　Voice 1: The abandoned literature nevertheless exerted a delaying action on new affective formulations.　　Voice 2: There was the fatigue and the cold of the morning in this much-traversed labyrinth, like an enigma that we had to resolve. It was a looking-glass reality through which we had to discover the potential richness of reality.　　On the bank of the river evening began once again; and caresses; and the importance of a world without importance. Just as the eyes have a blurred vision of many things and can see only one clearly, so the will can strive only incompletely toward diverse objects and can completely love only one at a time.　　Voice 3 (young girl): No one counted on the future. It would never be possible to be together later, or anywhere else. There would never be a greater freedom.　　Voice 1: The refusal of time and of growing old automatically limited encounters in this narrow, contingent zone, where what was lacking was felt as irreparable. The extreme precariousness of the means of getting by without working was at the root of this impatience which made excesses necessary and breaks definitive.　　Voice 2: One never really contests an organization of existence without contesting all of that organization's forms of language.　　Voice 1: When freedom is practiced in a closed circle, it fades into a dream, becomes a mere representation of itself. The ambiance of play is by nature unstable. At any moment "ordinary life"� can prevail once again. The geographical limitation of play is even more striking than its temporal limitation. Any game takes place within the contours of its spatial domain. Around the neighborhood, around its fleeting and threatened immobility, stretched a half-known city where people met only by chance, losing their way forever.　　The girls who found their way there, because they were legally under the control of their families until the age of eighteen, were often recaptured by the defenders of that detestable institution. They were generally confined under the guard of those creatures who among all the bad products of a bad society are the most ugly and repugnant: nuns.　　What usually makes documentaries so easy to understand is the arbitrary limitation of their subject matter. They describe the atomization of social functions and the isolation of their products. One can, in contrast, envisage the entire complexity of a moment which is not resolved into a work, a moment whose movement indissolubly contains facts and values and whose meaning does not yet appear. The subject matter of the documentary would then be this confused totality.　　Voice 2: The era had arrived at a level of knowledge and technical means that made possible, and increasingly necessary, a direct construction of all aspects of a liberated affective and practical existence. The appearance of these superior means of action, still unused because of the delays in the project of liquidating the commodity economy, had already condemned aesthetic activity, whose ambitions and powers were both outdated. The decay of art and of all the values of former mores had formed our sociological background. The ruling class's monopoly over the instruments we needed to control in order to realize the collective art of our time had excluded us from a cultural production officially devoted to illustrating and repeating the past. An art film on this generation can only be a film on its absence of real creations.　　Everyone unthinkingly followed the paths learned once and for all, to their work and their home, to their predictable future. For them duty had already become a habit, and habit a duty. They did not see the deficiency of their city. They thought the deficiency of their life was natural. We wanted to break out of this conditioning, in quest of another use of the urban landscape, in quest of new passions. The atmosphere of a few places gave us intimations of the future powers of an architecture it would be necessary to create to be the support and framework for less mediocre games. We could expect nothing of anything we had not ourselves altered. The urban environment proclaimed the orders and tastes of the ruling society just as violently as the newspapers. It is man who makes the unity of the world, but man has extended himself everywhere. People can see nothing around them that is not their own image; everything speaks to them of themselves. Their very landscape is alive. There were obstacles everywhere. There was a cohesion in the obstacles of all types. They maintained the coherent reign of poverty. Everything being connected, it was necessary to change everything by a unitary struggle, or nothing. It was necessary to link up with the masses, but we were surrounded by sleep.　　Voice 3: The dictatorship of the proletariat is a desperate struggle, bloody and bloodless, violent and peaceful, military and economic, educational and administrative, against the forces and traditions of the old world.　　Voice 1: In this country it is once again the men of order who have rebelled. They have reinforced their power. They have been able to aggravate the grotesqueness of the ruling conditions according to their will. They have embellished their system with the funereal ceremonies of the past.　　Voice 2: Years, like a single instant prolonged to this point, come to an end.　　Voice 1: What was directly lived reappears frozen in the distance, fit into the tastes and illusions of an era, carried away with it.　　Voice 2: The appearance of events that we have not made, that others have made against us, now obliges us to be aware of the passage of time, its results, the transformation of our own desires into events. What differentiates the past from the present is precisely its out-of-reach objectivity; there is no more should-be; being is so consumed that it has ceased to exist. The details are already lost in the dust of time. Who was afraid of life, afraid of the night, afraid of being taken, afraid of being kept?　　Voice 3: What should be abolished continues, and we continue to wear away with it. We are engulfed. We are separated. The years pass and we haven't changed anything.　　Voice 2: Once again morning in the same streets. Once again the fatigue of so many similarly passed nights. It is a walk that has lasted a long time.　　Voice 1: Really hard to drink more.　　Voice 2: Of course one might make a film of it. But even if such a film succeeds in being as fundamentally disconnected and unsatisfying as the reality it deals with, it will never be more than a re-creation "” poor and false like this botched traveling shot.　　Voice 3: There are now people who pride themselves on being authors of films, as others were authors of novels. They are even more backward than the novelists because they are unaware of the decomposition and exhaustion of individual expression in our time, ignorant of the end of the arts of passivity. They are praised for their sincerity since they dramatize, with more personal depth, the conventions of which their life consists. There is talk of the liberation of the cinema. But what does it matter to us if one more art is liberated through which Tom, Dick or Harry can joyously express their slavish sentiments? The only interesting venture is the liberation of everyday life, not only in the perspectives of history but for us and right away. This entails the withering away of alienated forms of communication. The cinema, too, has to be destroyed.　　Voice 2: In the final analysis, stars are created by the need we have for them, and not by their talent or lack of talent or even by the film industry or advertising. Miserable need, dismal, anonymous life that would like to expand itself to the dimensions of cinema life. The imaginary life on the screen is the product of this real need. The star is the projection of this need.　　The images of the advertisements during the intermissions are more suited than any others for evoking an intermission of life.　　To really describe this era it would no doubt be necessary to show many other things. But what would be the point?　　Better to grasp the totality of what has been done and what remains to be done than to add more ruins to the old world of the spectacle and of memories.　　1. This film, which evokes the lettrist experiences at the origin of the situationist movement, opens with shots of the Paris district frequented by the lettrists in the early 1950s.

　　一个好友请求彻底改变了 Kirat 的生活，当她与鲍比在网上的关系慢慢转变成恋情时，她永远也想不到鲍比并非表面上看起来那么简单。

　　故事讲述了在一个异次元空间，各种不同动漫中的功夫高手因为各种原因齐聚一堂，为了决出谁才是真正的天下第一而陷入了激烈的争斗，没想到这一切其实都是一个巨大的阴谋……