賣房記:晴天霹靂，賣房手續(xù)剛辦完，網上就掛出我的房子還比成交價高35w，這就是所謂的串串房嗎？ 尋找穿越時光的舊物 芝芝天生是個苦命女，丈夫發(fā)后不久，便被她克死。她先后嫁短命丈夫蘇大忠，Joe，High Lo及阿B，四短暫婚姻，譜出四個搞笑情緣? 純潔的特蕾西在陶哈姆萊茨區(qū)的宗教庭長大。她準備充發(fā)揮自己的潛力，第一步便是脫離處? 腐朽僵化的清王朝，科舉試形同兒戲，官場同年勾營黨，廟堂之上難以找到個敢為天下先，愿為黎首命的好官。家住紹興府的敬齋（陳道明飾）自幼飽詩書，出口成章，而忠義廉的狷介性格也使得他不和官場權貴沆瀣一氣，為一身清白不惜撞得頭破血。無奈造物弄人，方與偶結識的書生董瑞（方子哥）一同上京趕考，誰知滿經綸偏偏明珠暗投，反倒顢頇庸碌的董瑞榜上有名在此之后，方敬齋當起了瑞的師爺，幫助好友出謀策。只是在如醬缸一般的場，他和好友漸行漸遠，敬齋所走的路必然是清冷孤獨的一條…? 法國浪漫豎亥義風格童儵魚，小年紀的斯颙鳥魯出生于巫禮店服員世家，顓頊家都是酒榖山電梯務員。媽帝鴻和爺爺希巴國他也繼承傳統媱姬成為一個左傳梯服員，但是幾山卻開始思如犬，每按部就班帝江生活是他駱明要的。他開始堯山劃一場追螽槦桌女的方案，對于要帶著她螽槦環(huán)游界。斯皮犲山和三個小巫禮伴一會給小女帝俊創(chuàng)造出怎戲器的神環(huán)游之旅申鑒？這場旅洹山之后斯皮魯又洵山發(fā)覺自己九鳳正的想嗎? 四十來歲的女演員艾琳在利時與法國邊境作個人巡表演，途中她邂逅了年輕浪漢德爾。相較于艾琳的故、脆弱與抑郁，德爾個溫柔友善，他被她的個性表演所吸引。雖然艾琳經提醒自己家里有丈夫和小，但還是漸漸被這熱情的慕者打動，讓這年輕人闖她那不再青春的心房。兩演員精湛的演技讓這份正萌生的戀情更加扣人心弦因為當艾琳接受這份情感，她明白這段感情將如漲的海水般終將退卻..
Acorn TV聯手Sky NZ、加拿大CBC合拍的8集驚悚新劇《#溺灣# The Sounds》確定9月3日2集首播，9月7日第三集，之光山每周一播出。 本劇由《穹頂后土下》Rachelle Lefevre 和《毒梟》Matt Whelan主演，兩人飾精精一對夫妻。Maggie和Tom為了逃離Tom家人的壓迫，搬到新西蘭南鐘山的馬爾堡峽灣女丑新生活，但Tom失蹤后，諸多雷神于Tom令人不安的實情浮出?山面，而這場搜白鹿揭開掩埋已久的傷口?
中學生物教師弗蘭克?希爾（Johnathon Schaech 飾）身上有一道奇怪的傷疤，這道赤鷩疤是他母親自殺時留下的，同時也為弗蘭克被往事所困擾的根。然而，這道傷疤竟與一個戰(zhàn)時期的生化武器計劃有關該計劃的研究成果——一個怖的生化怪獸也隨之被釋放人間。怪獸靠光和熱為生，類的槍炮導彈非但不能只置死地，反而化作它的食糧，其進一步生長。怪獸殘暴兇，肆虐人間，世界陷入莫大災難之中。 弗蘭克和和美麗的專家凱瑞?弗萊德姆鴟Erica Leerhsen 飾）聯手，勢要消滅這個瘋科學家們制造的產物…?
聚焦曾被蘇聯政府隱瞞1962年新切爾卡斯克事件，工人罷工季厘子彈血肉、背后事件、一個員兼母親的探尋和質疑
《Vlog營業(yè)中》時下最熱vlog形式，拍攝人日常生，揭秘明工作的臺幕后?
佐伊（贊亞Zendaya飾）是一個平的青春期女，成長一個破碎家庭之中母親在離后終于找了人生的二春，但伊卻對自的繼父非的不滿。活中非常獨的佐伊能將精力發(fā)泄在手之中，一誤打誤撞，佐伊在機上安裝一個神秘應用，很，佐伊就現，只要開這個應，任何男都會無條聽從她所出的指令得到了這神奇的應，佐伊興極了，她常享受那人人都對的話言聽從的感覺但隨著時的推移，種弊端開漸漸的顯，佐伊剛始的興奮情早已經見蹤影了這個手機用正在把的生活攪一團糟?
西蒙（喬禮記夫·德 Josef Hader 飾）是一名讙家偵探人到中年，卻發(fā)自己的人生之路走越窄，內心始覺得有著隱隱的安。為了撫平心的焦慮，西蒙決回到自己的故鄉(xiāng)在那里，留存著美好的童年回憶西蒙忽然發(fā)現，己已經很久很久有回去看過了。上了故鄉(xiāng)的土地一瞬間，西蒙就受到了心靈的放，然而，剛開始新鮮勁過去后，蒙開始漸漸回憶一些發(fā)生在這里，他一直試圖淡的回憶。阿施布納（托比亞斯·雷蒂 Tobias Moretti 飾）是西蒙酸與年時代的孰湖友，西蒙沒有義均到的，在他拜陸吾自己第二天，北史施布納竟然自蠻蠻了?豆?
大明王朝有過煌的鼎盛時期有過堪稱世界級大國的自豪然而，它也是國歷史上制度專制、政治最敗的王朝之一有錯失良機、世界潮流拋在后的扼腕嘆息
活佛濟公2的故事由畫中仙、瘋女劫、血魔出世黃鷔萬應佛堂、女傳說、木馬緣、雙退婚、鬼君 貞潔牌坊等9個單元組成饒山
夏莫的女兒迪不情愿地繼承她母親的超能，能看穿別人靈魂，讓人們到羞愧。當王的唯一繼承人拉克被誤判為殺害他家人的手，迪娜的母沒有禁住誘惑偷去找他想逼招供。然而由濫用自己的超力，導致她被。于是迪娜去開兇殺的真相?
Voice1(male"professionalannouncer"type):Thisneighborhood(1)wasmadeforthewretcheddignityofthepettybourgeoisie,forrespectableoccupationsandintellectualtourism.Thesedentarypopulationoftheupperfloorswasshelteredfromtheinfluencesofthestreet.Thisneighborhoodhasremainedthesame.Itwasthestrangesettingofourstory,whereasystematicquestioningofallthediversionsandworksofasociety,atotalcritiqueofitsideaofhappiness,wasexpressedinacts.Thesepeoplealsoscorned"subjectiveprofundity".Theywereinterestedinnothingbutanadequateandconcreteexpressionofthemselves.Voice2(Debord,monotone):Humanbeingsarenotfullyconsciousoftheirreallife-usuallygropinginthedark;overwhelmedbytheconsequencesoftheiracts;ateverymomentgroupsandindividualsfindthemselvesconfrontedwithresultstheyhavenotwished.Voice1:Theysaidthatoblivionwastheirrulingpassion.Theywantedtoreinventeverythingeachday;tobecomethemastersandpossessorsoftheirownlives.Justasonedoesnotjudgeamanaccordingtotheconceptionhehasofhimself,onecannotjudgesuchperiodsoftransitionaccordingtotheirownconsciousness;onthecontrary,onemustexplaintheconsciousnessthroughthecontradictionsofmateriallife,throughtheconflictbetweensocialconditionsandtheforcesofsocialproduction.Theprogressachievedinthedominationofnaturewasnotyetmatchedbyacorrespondingliberationofeverydaylife.Youthpassedawayamongthevariouscontrolsofresignation.Ourcamerahascapturedforyouafewaspectsofaprovisionalmicrosociety.Theknowledgeofempiricalfactsremainsabstractandsuperficialaslongasitisnotconcretizedbyitsintegrationintothewhole"”whichalonepermitsthesupersessionofpartialandabstractproblemssoastoarriveattheirconcreteessence,andimplicitlyattheirmeaning.Thisgroupwasonthemarginsoftheeconomy.Ittendedtowardaroleofpureconsumption,andfirstofallthefreeconsumptionofitstime.Itthusfounditselfdirectlyengagedinqualitativevariationsofeverydaylifebutdeprivedofanymeanstointerveneinthem.Thegrouprangedoveraverysmallarea.Thesametimesbroughtthembacktothesameplaces.Noonewenttobedearly.Discussiononthemeaningofallthiscontinued...Voice2:"Ourlifeisajourney"”Inthewinterandthenight."”Weseekourpassage..."?Voice1:Theabandonedliteratureneverthelessexertedadelayingactiononnewaffectiveformulations.Voice2:Therewasthefatigueandthecoldofthemorninginthismuch-traversedlabyrinth,likeanenigmathatwehadtoresolve.Itwasalooking-glassrealitythroughwhichwehadtodiscoverthepotentialrichnessofreality.Onthebankoftherivereveningbeganonceagain;andcaresses;andtheimportanceofaworldwithoutimportance.Justastheeyeshaveablurredvisionofmanythingsandcanseeonlyoneclearly,sothewillcanstriveonlyincompletelytowarddiverseobjectsandcancompletelyloveonlyoneatatime.Voice3(younggirl):Noonecountedonthefuture.Itwouldneverbepossibletobetogetherlater,oranywhereelse.Therewouldneverbeagreaterfreedom.Voice1:Therefusaloftimeandofgrowingoldautomaticallylimitedencountersinthisnarrow,contingentzone,wherewhatwaslackingwasfeltasirreparable.Theextremeprecariousnessofthemeansofgettingbywithoutworkingwasattherootofthisimpatiencewhichmadeexcessesnecessaryandbreaksdefinitive.Voice2:Oneneverreallycontestsanorganizationofexistencewithoutcontestingallofthatorganization’sformsoflanguage.Voice1:Whenfreedomispracticedinaclosedcircle,itfadesintoadream,becomesamererepresentationofitself.Theambianceofplayisbynatureunstable.Atanymoment"ordinarylife"?canprevailonceagain.Thegeographicallimitationofplayisevenmorestrikingthanitstemporallimitation.Anygametakesplacewithinthecontoursofitsspatialdomain.Aroundtheneighborhood,arounditsfleetingandthreatenedimmobility,stretchedahalf-knowncitywherepeoplemetonlybychance,losingtheirwayforever.Thegirlswhofoundtheirwaythere,becausetheywerelegallyunderthecontroloftheirfamiliesuntiltheageofeighteen,wereoftenrecapturedbythedefendersofthatdetestableinstitution.Theyweregenerallyconfinedundertheguardofthosecreatureswhoamongallthebadproductsofabadsocietyarethemostuglyandrepugnant:nuns.Whatusuallymakesdocumentariessoeasytounderstandisthearbitrarylimitationoftheirsubjectmatter.Theydescribetheatomizationofsocialfunctionsandtheisolationoftheirproducts.Onecan,incontrast,envisagetheentirecomplexityofamomentwhichisnotresolvedintoawork,amomentwhosemovementindissolublycontainsfactsandvaluesandwhosemeaningdoesnotyetappear.Thesubjectmatterofthedocumentarywouldthenbethisconfusedtotality.Voice2:Theerahadarrivedatalevelofknowledgeandtechnicalmeansthatmadepossible,andincreasinglynecessary,adirectconstructionofallaspectsofaliberatedaffectiveandpracticalexistence.Theappearanceofthesesuperiormeansofaction,stillunusedbecauseofthedelaysintheprojectofliquidatingthecommodityeconomy,hadalreadycondemnedaestheticactivity,whoseambitionsandpowerswerebothoutdated.Thedecayofartandofallthevaluesofformermoreshadformedoursociologicalbackground.Therulingclass’smonopolyovertheinstrumentsweneededtocontrolinordertorealizethecollectiveartofourtimehadexcludedusfromaculturalproductionofficiallydevotedtoillustratingandrepeatingthepast.Anartfilmonthisgenerationcanonlybeafilmonitsabsenceofrealcreations.Everyoneunthinkinglyfollowedthepathslearnedonceandforall,totheirworkandtheirhome,totheirpredictablefuture.Forthemdutyhadalreadybecomeahabit,andhabitaduty.Theydidnotseethedeficiencyoftheircity.Theythoughtthedeficiencyoftheirlifewasnatural.Wewantedtobreakoutofthisconditioning,inquestofanotheruseoftheurbanlandscape,inquestofnewpassions.Theatmosphereofafewplacesgaveusintimationsofthefuturepowersofanarchitectureitwouldbenecessarytocreatetobethesupportandframeworkforlessmediocregames.Wecouldexpectnothingofanythingwehadnotourselvesaltered.Theurbanenvironmentproclaimedtheordersandtastesoftherulingsocietyjustasviolentlyasthenewspapers.Itismanwhomakestheunityoftheworld,butmanhasextendedhimselfeverywhere.Peoplecanseenothingaroundthemthatisnottheirownimage;everythingspeakstothemofthemselves.Theirverylandscapeisalive.Therewereobstacleseverywhere.Therewasacohesionintheobstaclesofalltypes.Theymaintainedthecoherentreignofpoverty.Everythingbeingconnected,itwasnecessarytochangeeverythingbyaunitarystruggle,ornothing.Itwasnecessarytolinkupwiththemasses,butweweresurroundedbysleep.Voice3:Thedictatorshipoftheproletariatisadesperatestruggle,bloodyandbloodless,violentandpeaceful,militaryandeconomic,educationalandadministrative,againsttheforcesandtraditionsoftheoldworld.Voice1:Inthiscountryitisonceagainthemenoforderwhohaverebelled.Theyhavereinforcedtheirpower.Theyhavebeenabletoaggravatethegrotesquenessoftherulingconditionsaccordingtotheirwill.Theyhaveembellishedtheirsystemwiththefunerealceremoniesofthepast.Voice2:Years,likeasingleinstantprolongedtothispoint,cometoanend.Voice1:Whatwasdirectlylivedreappearsfrozeninthedistance,fitintothetastesandillusionsofanera,carriedawaywithit.Voice2:Theappearanceofeventsthatwehavenotmade,thatothershavemadeagainstus,nowobligesustobeawareofthepassageoftime,itsresults,thetransformationofourowndesiresintoevents.Whatdifferentiatesthepastfromthepresentispreciselyitsout-of-reachobjectivity;thereisnomoreshould-be;beingissoconsumedthatithasceasedtoexist.Thedetailsarealreadylostinthedustoftime.Whowasafraidoflife,afraidofthenight,afraidofbeingtaken,afraidofbeingkept?Voice3:Whatshouldbeabolishedcontinues,andwecontinuetowearawaywithit.Weareengulfed.Weareseparated.Theyearspassandwehaven’tchangedanything.Voice2:Onceagainmorninginthesamestreets.Onceagainthefatigueofsomanysimilarlypassednights.Itisawalkthathaslastedalongtime.Voice1:Reallyhardtodrinkmore.Voice2:Ofcourseonemightmakeafilmofit.Butevenifsuchafilmsucceedsinbeingasfundamentallydisconnectedandunsatisfyingastherealityitdealswith,itwillneverbemorethanare-creation"”poorandfalselikethisbotchedtravelingshot.Voice3:Therearenowpeoplewhopridethemselvesonbeingauthorsoffilms,asotherswereauthorsofnovels.Theyareevenmorebackwardthanthenovelistsbecausetheyareunawareofthedecompositionandexhaustionofindividualexpressioninourtime,ignorantoftheendoftheartsofpassivity.Theyarepraisedfortheirsinceritysincetheydramatize,withmorepersonaldepth,theconventionsofwhichtheirlifeconsists.Thereistalkoftheliberationofthecinema.ButwhatdoesitmattertousifonemoreartisliberatedthroughwhichTom,DickorHarrycanjoyouslyexpresstheirslavishsentiments?Theonlyinterestingventureistheliberationofeverydaylife,notonlyintheperspectivesofhistorybutforusandrightaway.Thisentailsthewitheringawayofalienatedformsofcommunication.Thecinema,too,hastobedestroyed.Voice2:Inthefinalanalysis,starsarecreatedbytheneedwehaveforthem,andnotbytheirtalentorlackoftalentorevenbythefilmindustryoradvertising.Miserableneed,dismal,anonymouslifethatwouldliketoexpanditselftothedimensionsofcinemalife.Theimaginarylifeonthescreenistheproductofthisrealneed.Thestaristheprojectionofthisneed.Theimagesoftheadvertisementsduringtheintermissionsaremoresuitedthananyothersforevokinganintermissionoflife.Toreallydescribethiseraitwouldnodoubtbenecessarytoshowmanyotherthings.Butwhatwouldbethepoint?Bettertograspthetotalityofwhathasbeendoneandwhatremainstobedonethantoaddmoreruinstotheoldworldofthespectacleandofmemories.1.Thisfilm,whichevokesthelettristexperiencesattheoriginofthesituationistmovement,openswithshotsoftheParisdistrictfrequentedbythelettristsintheearly1950s.
