主演：白客,马可,戚薇
导演：易小星
简介：此剧是短剧《万万没想到》的贺岁篇，刘备旗下小兵王大锤（白客 饰）和哥哥王小可（马克 饰）春节期间为了回家探亲经历了各种惨况。主公刁难、买不到票，路遇山贼，被姐姐王七哥（戚薇 饰）各种折腾等一系列倒霉的事都被兄弟二人遇到了，虽然王大锤聪明机灵，哥哥有轻微弱智，但是总能化险为夷。本片有6集，每集都有不同的人物加入，被誉为短剧里的“日和漫画”。
主演：白客,葛布,易小星,张本煜
导演：易小星
简介：本剧是万合天宜与优酷共同出品的一部系列迷你剧。第一季一共有15集，每集5分钟，故事的主人公是屌丝王大锤（白客 饰），每集的情节没有连续，在不同的集数中王大锤遇见了各式各样人物，遭遇了各种奇葩、穿越的事情，虽然这些遭遇看起来离奇，但是都有现实的依据，令人忍俊不禁。比如刘备（张本煜 饰）与儿子阿斗（白客 饰）的故事来自于历史题材，第一集《低成本武侠剧》来自于现实的电视剧状况等等等等。叫兽易小星作为本剧的导演也在很多集中有搞笑出演，本剧一经推出就受到了年轻观众的热烈欢迎。
主演：熊玉婷,陈建宇,韩丹,周千,赖禧龙
导演：潘真
简介：人鱼王子顾泽一体内海珠意外被人类女子陆淼淼夺取，顾泽一由此开启了漫长的“追珠”之旅，而他的三个兄弟为了帮助大哥拿回珠子，闹出了许多笑话。
主演：陈芳彤,高茂桐,蒲萄,苏宇航
导演：马诗歌
简介：武馆女掌门黄小鱼作误闯娱乐圈，意外成为当红明星袁帆的贴身保镖，正式开始甜喜过招的同居生活。黄小鱼也向袁帆坦白了自己被大热武侠游戏《新斗罗大陆》NPC附身的秘密，开启了一段游戏和现实双线开恋的高甜时光。
主演：陈芳彤,高茂桐,蒲萄,苏宇航
导演：马诗歌
简介：没落武馆掌门黄小鱼被大热武侠游戏《新斗罗大陆》中的NPC薄夜附身，意外成为游戏代言人袁帆的贴身保镖。为阻止同样流落现实世界的反派魇搞破坏，小鱼（薄夜）和袁帆开启了一段反转爆笑的除魔之旅，也陷入更大的阴谋中......
主演：关芯,高基才,高凯,阿克朱力,戴丽哈·那衣满,仕伟
导演：陈龙
简介：背负杀父之仇的阿沐女扮男装潜进赤影山庄，却意外被少主褚景辰发现真实身份，褚景辰假装不知情与其周旋，明宠暗护，可阿沐却被仇恨蒙蔽，爱而不自知。两人历经巨变终能携手，同时也发觉，真正的仇人一直藏在暗处……
主演：博胡什·扎霍尔斯基,Svatava,Hubeňáková
导演：伊日·门泽尔
简介：In beautiful sunny afternoon in Prague, a man of a certain age discusses his love of Provence. Suddenly, a black flag is suspended. The composer Foerster died.Graduation film of director Jirí Menzel.
主演：范·迪塞尔,布莱德利·库珀,弗雷德·塔特西奥,詹姆斯·古恩,凯特琳·罗布罗克,鲍伯·伯根,特雷弗·德瓦,斯科特·门维尔,凯瑞·华格伦,马修·伍德,Terri,Douglas
导演：克尔斯滕·莱波尔
简介：漫威原创短剧《我是格鲁特》，树人格鲁特宝宝与新角色一起展开冒险之旅。
主演：周润发,刘嘉玲,吴孟达,汤镇业,吕良伟,刘江,叶德娴,Deannie,Yip
导演：tvb
简介：[TVB][幻海奇情.花瓶／时间之钟／死之境界][单元剧][粤语无字幕][TVRIP-RMVB]类型：单元剧出品：香港TVB演员：周润发，刘嘉玲，吴孟达，吕良伟，罗兰，石修，甘国亮，叶德娴，黄杏秀，李司棋内容简介：幻海奇情为 TVB 七八十年代时的奇幻剧集.每个故事为 10分钟左右，共有 54 个独立的故事。虽说为奇幻故事，但都不是很的故事，有些更是属于谐趣的內容。这系列所吸引之处，就是有能看到很多现在为人熟识的演员早期在电视上的演出，也能看到香港七八十年代时的面貌。第一辑（演员：甘国亮，石修，吕良伟，吴孟达，周润发，刘嘉玲，罗兰）迷离境界、阴森诡秘、疑幻疑真、触目惊心。十个奇幻故事包括 四人归西、鬼妻、幽灵、谁是凶手、怪遇、错、报纸、兆、同事、第三身。第二辑（演员：阮兆辉，吴孟达，周润发，苗金凤，张德兰，骆应钓，戴志伟）迷离境界、阴森诡秘、疑幻疑真、触目惊心。十个奇幻故事包括 死之境界、归家、先兆、假戏真做、灵魂附身、自杀、鬼咁恨嫁、回魂夜、我返嚟啦、你死我活。第三辑（演员：李司棋， 叶德娴，周润发，黄杏秀）迷离境界、阴森诡秘、疑幻疑真、触目惊心。十个奇幻故事包括 重现、杀夫、楼上的人、8小时、游戏、长生不老、午夜电话、拆鬼、圆梦、时间之钟。第四辑（演员：关海山，罗兰，周秀兰，黄一飞）迷离境界、阴森诡秘、疑幻疑真、触目惊心。十个奇幻故事包括 凶眼、长窗、房客、名画、白鸽票、纹身、花瓶、有楼出租、倩影、毒誓。第五辑（演员：甘国亮，吴孟达，刘松仁，卢海鹏）迷离境界、阴森诡秘、疑幻疑真、触目惊心。十个奇幻故事包括 酒、蓝花瓶、母、裁缝、忍、片段、我是鬼、问米、幻海奇情、车祸。第六辑（演员：石修，吕良伟，黄杏秀，欧阳佩珊）迷离境界、阴森诡秘、疑幻疑真、触目惊心。四个奇幻故事包括 菲林幽魂、心魔、洋娃娃、影。《圆梦》 男子梦见自己跌进一空屋，醒后认为梦境与死去的父亲有关，于是根据父亲的旧照片寻找空屋。男子抵达空屋，见一少女，而少女样貌竟与父亲照片内的女子相同……《死之境界》 男子外出不幸遇上车祸，回家后母亲及众亲友异于平常，怪事自此不断出现，原来全部人早已死去....《兆》 男子遭先人报梦，著他注意一车牌号码1221；男子以为是彩号码，却原来是一单位门牌。在前往该单位途中，男子不幸遇害……《花瓶》 男子租住进新居，发现楼上单位空无一人，只有一神主牌，及后查询得知昔日楼上单位主人甚爱花瓶，并扬言死后也要保护其心爱花瓶。住客不信，故意移动之，并惹来杀生之祸。《报纸》 贫穷的丈夫每天都会收到未来一天的报纸，于是他依照报纸上的赛马结果去买马，发了横财；有天他看到报纸上写著自己会遇到意外丧命，而杀手却是....《第三身》 男子自从住院两星期后，出院后常常在街上碰见与他长的一模一样的人，最后他还牵涉入一场杀人案中；到底这是他的幻觉还是真有其事？他又会否被误认为杀人凶手呢？《怪遇》 男子拥有异赋，众人都奇怪他怎么能看透对方的想法；有天他前往找工作之时，竟然发现该公司经营非法勾当，故卷入了一场警匪追逐的旋涡....《运》 男子失业倒霉，街上四处游荡下找到一招聘广告，男子遂往见工并获雇用，却原来是一家鬼工厂，该公司多年前因火警全工厂工人遭烧死……《游戏》 男子占卦，被预言将有怪事发生，男子不以为意；其后男子与友人郊游，误进一神秘大屋，屋内空无一人，男子与友人更决定在此留宿一宵，自此怪事频生……《时间之钟》 男子在办公室经常遭到同事看扁。在一次机缘下男子得到了一个能令时间停顿的时钟，男子藉时钟进行报复，却不小心把时钟弄坏，男子从此得困在时间静止的世界里……《先兆》 一对夫妇因女儿遭色魔奸杀而死而终日不安，两人遂往问米，谁知当问米婆为他俩占算过后，即著二人离去，到底真凶是谁？最后又能否绳之于法？《重现》 会计周润发亏空公款，在乘电梯时被人发现，为了避免事情外露，会计杀人灭口。自此，会计终日疑神疑鬼，遂决定转工，可惜天网灰灰，会计最终也绳之于法。《珍珠饼》 太太有婚外情，一直希望离开丈夫。一次从新闻报导中得知一家饼店的珍珠饼有毒，太太便将计就计，将毒落在珍珠饼中供丈夫进食，并打算将罪名推落饼店……《鬼妻》 由罗浩楷及程可为主演。“妻死妻还在”，饰演鬼妻的程可为在一次交通意外中丧生，却念念不忘丈夫罗浩楷，誓要日夜相随......
主演：郭迦南,龚芳妮,陈斯琪,周千筱
导演：唐万里
简介：继承了千万遗产房的社畜喻星垂，误打误撞与自己老板柳予安成了邻居，于是便开始了与柳予安斗智斗勇的职场 邻里生活。而在这一过程中，这对欢喜冤家情愫暗生。而此时柳予安消失多年的母亲杨絮找上门来，而她，正是幕后安排喻星垂住进这间房子的人。杨絮告诉喻星垂，她的父亲正是从柳予安负责的高楼上跳下，却给柳予安留下巨大阴影。得知真相的喻星垂明白了杨絮的良苦用心，帮助柳予安走出了阴霾，最终二人走到了一起。
主演：王路晴,佴文,崔绍阳,淮文
导演：张海啸
简介：夏天天刚把校霸郭之宇调教成“忠犬”男友，就遭到了母亲何青柠的强烈反对，在何青柠心中，夏天天的公司总裁秦至才是完美女婿，她决心要亲自出手，却没料到，偶然的一天母女二人居然互换了身体!何青柠开始顶着女儿的身体为所欲为，夏天天则用母亲的身体奋起反击，俩人在鸡飞狗跳的互换人生中慢慢理解彼此。与此同时，两段高甜恋爱也正酝酿发酵......
主演：佐藤利奈,新井里美,伊藤加奈惠,丰崎爱生,寿美菜子
导演：神保昌登
简介：『#13' 炎天下の撮影モデルも楽じゃありませんわね。』が、2010年7月24日発売の『とある科学の超電磁砲 OFFICIAL VISUAL BOOK』付属DVDに収録された。テレビアニメ第1期第13話と平行したオリジナル短編エピソードである。
主演：野泽雅子
导演：上田芳裕(Yoshihiro,Ueda)
简介：人造人沙鲁战役过后，地球终于迎来了宝贵的和平，而骗子撒旦作为拯救了世界的英雄受到全人类的爱戴。世界首富钱多多为了给宝贝儿子庆生，出巨资举行了新一届的天下第一比武大会，成功晋级的选手有望和钱多多请来的四名所谓的外星人对决，最终获胜者还可以得到挑战撒旦的殊荣。此外，胜利者将得到一亿元奖金和环游世界的机会。超高的荣誉和报酬，连Z战士也坐不住了，纷纷报名参加。当然悟饭（野泽雅子 饰）、特兰克斯等人的出现，让撒旦心惊胆颤。一番较量过后，悟饭等人顺利晋级，但是等待他们的却是无比凶残和强大的宇宙人。意想不到的敌人，地球新的危机出现……
主演：宫野真守,花泽香菜,关智一,今井麻美,田村由香里
导演：佐藤卓哉,滨崎博嗣
简介：TOKYO MX重播的TV动画《命运石之门》（2015年）12月3日凌晨播出的第23话中改变情节，进入β世界线，凶真最终没能救活红莉栖，剧情进入了《命运石之门0》篇章。片尾彩蛋有《0》的主要角色、使用红莉栖头像的人工智能“阿玛迪斯”登场。新旧两版23集并非平行故事。新版是发生在旧版前夕的故事。 而《命运石之门0》和广播剧《无限远点的弧光灯β》是串连起这两集的关键作品。新版23集是《命运石之门0》的序曲，而《0》的结局是凶真给过去（2010年）的自己发短信、劝说当时的自己再次拯救红莉栖（这段内容在旧23集中也有提到），这才有了第24集第二次营救红莉栖的行动。《无限远点的弧光灯β》则解释了为什么在新23集中真由理阻止铃羽抽凶真一巴掌，却在旧23集中亲自抽了凶真。
主演：刘良
导演：林海燕
简介：由山东广播电视台出品的人物纪录片《刘良：中国首例新冠肺炎遗体解剖者》讲述了2020年初，在抗击新冠肺炎疫情中一位平凡而又耀眼的英雄——刘良的故事。刘良团队的解剖成果让这场“战疫”有了明确的作战方向。该纪录片题材重大，肩负着“向世界讲好中国抗疫故事”的使命，主角人物刘良自带光环，有家国情怀，使故事看点突出，引人入胜。其中，新冠肺炎遗体标本低温存放，以及纤支镜实验等影像都是首次对外披露。
主演：黄小戈,赵旭东,时男,傅隽,张佳琳
导演：王凯阳,Kaiyang,Wang
简介：本剧通过讲述咸鱼馆神秘店主灵叔以咸鱼和rose为主角虚构的十六种不同人生故事，展现了在不同故事中的咸鱼和rose犹如千千万万生活在世界上的青年男女一样，拥有着不同的性格和不同背景，怀揣着不同梦想和欲望，在充满机遇挑战又布满荆棘的人生旅途中，积极面对人生困惑，努力走出困惑和绝境的故事。十六个小故事有神奇，有烦恼，有笑声，有感动，对爱情的向外，对亲情的追忆，对人生的徘徊，对未来的恐惧，构成了一幅咸鱼和rose生命多种可能性的美丽画卷，犹如人生百味，柴米油盐酱醋茶，酸甜苦辣咸，喜怒哀乐怨。人生总是在希望中面临困惑走向绝望，又从绝望中坚强不息走向希望，故事中咸鱼和rose心底善良，拼搏向上，于人生困境中搏出一片青天，体验了生命的各种美好，传递了人生应该坚持希望，积极向上拥抱美好的乐观精神，表达了生命不止，自强不息的内涵思想。
主演：爱德华·阿斯纳,鲍勃·彼德森,乔丹·长井,西蒙·赫尔伯格,杰夫·皮金,莎拉尤·拉奧,Neketia,Henry,Heather,Eisner,Moon,Choe
导演：鲍勃·彼德森
简介：该剧是皮克斯《飞屋环游记》衍生剧集，讲述狗狗小逗发现了郊区的危险因素，比如小狗、烟花还有松鼠。
主演：内详
导演：居伊·德波
简介：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 keptVoice 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 pointBetter 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.
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