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，

　　“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……

　　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……

　　蜀山群山之中的昆仑山，掌门孤月大师（张柏芝饰）与徒弟玄天宗（郑伊健饰）相恋，事先预感邪恶的幽泉血魔会进攻昆仑，自知无力抵抗的她，为保天宗性命而借故赶他下山，并将昆仑秘藏武器“日月金轮”交付天宗，而自己则为血魔所杀，昆仑山灵气尽被吸去。　　二百年后，邪恶力量再次侵犯正派，峨嵋开山祖师峨嵋真人（洪金宝饰），惟恐此战伤及凡间，乃派大弟子丹辰子（古天乐饰）前往山下疏离凡间正在交战的军队，在途中与程乐天（章子怡饰）、玄天宗相遇，却意外发现血魔的秘密，并因而落入陷阱。在生死之际峨嵋真人率弟子前来救援，玄天宗赫然发现其中一名女弟子李英奇（张柏芝饰），样子竟酷似师傅孤月大师。同时，峨嵋真人发觉中了血魔诡计，一场更为凶险的正邪大战即将展开……

　　25集古装电视剧《黄梅戏宗师传奇》是根据 黄梅籍神话小说作家周濯街的小说《黄梅戏第一 代宗师--邢绣娘传奇》改编。该剧由北京中视精 彩影视公司联合湖北省人民政府和黄梅县委拍摄 制作和发行。　　邢绣娘，生于 黄梅县孔垄镇邢大 墩，清乾隆黄梅县 人氏，自幼酷爱唱 黄梅调。她在前人 基础上，苦心钻研 黄梅戏的演唱技艺 ，组建戏班，将黄 梅采茶小戏，推进 成高台大戏，并一 路唱到京城。她是清乾隆年间鄂赣皖三省黄梅戏 代表人物，也是黄梅戏从民间小戏发展成高台大 戏的奠基人，乾隆皇帝曾御赐为“黄梅名伶”，堪 称一代宗师。《黄梅戏宗师传奇》正是演绎邢绣 娘追求黄梅戏事业跌宕起伏的传奇人生。

　　《梦回少年时》是黄超导演的一部同性爱恋电影，影片描述了英俊少年古俊（王贤饰），邂逅知名摄影师马明锦（景乐饰），熟悉的情感相互吸引的爱情故事。像《蓝宇》《断背山》一样，每一段要讲述的同性爱恋里都有一段被人不解，被人拆散的伤痛。　　故事主要描述了一个20岁却老气横秋的英俊少年古俊（王贤饰），邂逅高大帅气的知名摄影师马明锦（景乐饰），一种熟悉的情感从他的心里升腾，而行为举止与年龄极不相符的古俊也同样吸引了马明锦。

　　李奥（吴奇隆 饰）是一位冷静强干的职业杀手，在行业内有着极高的声誉。某日，李奥于无意中遇见了刑警迈克（林志辉 饰），迈克凭借警察的直觉认定李奥就是他一直在寻找的杀手，于是推迟了同女友玛姬（蔡少芬 饰）的婚期，踏上了追踪李奥的旅途。　　李奥患有先天性心脏病，又无奈与杀手界的腥风血雨，萌生了退意，因此遭到了组织的追杀，迈克亦不幸受到牵连。李奥心脏病发作，想要保命唯有换心一个选择，一场紧张的手术之后，李奥的胸膛里，跳动着迈克的心脏。一次偶然之中，李奥遇见了玛姬，胸中剧烈的悸动让他对玛姬展开了热烈的追求。与此同时，黑帮的杀手和警察的追踪将李奥逼入死角。

　　女强人周佳宁，总能摆平属下做不成的事情。在各种各样的生意间游刃有余。 她常常会回到一家咖啡厅，喝着不如星巴克的廉价咖啡，听着恋人们流传的那个“星期二女孩”的故事。而她是故事的主角。 当年在校园的周佳宁远不如现在的风光，她领着补助金，图书馆做兼职，被恶毒白富美的排挤。简单朴素平凡的她终于遇到那个只为在人群中多看一眼的他！这一眼，一见钟情...... 生活是什么？有的哭笑叫闹着开场，有的没声音留着眼泪悄悄结束。爱情呢？也许，就是这样吧。

　　超英（金珠 饰）性情泼辣、为人热情，唯独看不上她眼中窝囊的丈夫巴国梁（巩汉林 饰），一会儿嫌他不挣钱，一会嫌他不能生育，还每每把自己“皇室血统”的话挂在嘴边，弄得巴哥一见老婆就没脾气。邻居大傻杨是巴哥的忠实粉丝，就连巴哥放个屁他都感觉是香的。巴哥下岗了，他没敢告诉媳妇，每天夹个包仍象正常上班那样出出进进，但后来超英仍然了解了真相。下岗后的巴哥别出心裁地想出好多创业规划，虽然得到大傻杨积极响应，其后果可想而知。巴哥整天为赚钱发愁，这真是家家有本难念的经......

　　一开始，卖药艺人李药仙带着妹妹李腊梅沿街买艺，推销一种专治“刀枪剑戟伤”的药粉，路人没有兴趣纷纷散去，李药仙耍了一套少林棍将路人吸引过来，并现场将胳臂划伤示范药粉是否灵验，于是路人都来买药，李药仙赚了不少钱，可是钱袋却转眼间被人偷走了。 路见不平的范无病追上了小偷，并与其交起了手，小偷不是范的对手，跪下求饶，范见他可怜，就把自己的一些钱给了他。之后他返回客栈，光着身子做在藤椅上睡着了，等候失主，事后李药仙将这个诚实的小伙子收留，教他搓药丸，而妹妹李腊梅也对范盟生了好感。　　不料，当地的恶霸“震南门”看上了李腊梅，一番较量之后，李药仙惨遭毒手，被石灰粉迷了眼睛，腰部被两把刀同时刺中（这个镜头很触目惊心，我想不是因为这个过于血腥而封杀了吧）而死。李腊梅被“震南门”霸占，洞房后趁其熟睡之时将其杀死逃走。　　李蜡梅觉得没有脸再见范无病，逃亡中被人贩子于天庭收留，并被他利用，他将腊梅的脸划花，又让其吞下烧红的煤球使嗓子变哑、变粗，让她用布在里面裹住胸部，让她成为一个“男人”……原来，于天庭主要靠贩卖处女发财，但是每次在押送的途中都会被押送人糟蹋很多个处女，以至卖不了高价；所以李腊妹无形中成了最好的押送处女人选，她是女儿身，又会武功，特别是飞针百发百中，可是她始终没有看清于天庭的真面目。　　范无病和被他放走的小偷刘贵成了至交，沿街买艺时被当地的席专员赏识，席专员请范当儿子席小山的武术教师，在此期间，席专员的女儿、席小山的妹妹席小婷也对范产生了好感。但是席太太却对范一直有偏见。　　范无病一直没有忘记李腊梅，到处打听她的下落，听说她被卖到妓院，就整天带着小山去那里打听，但因为坏人的挑拨，使席专员对他产生了误解。而范打听到的姑娘“腊梅”却是一个叫徐腊梅的妓女。范遇到了面目全非的李腊梅，可是没有认出她，而席小山也意外被人杀死。李腊梅看清了于天庭的真面目后怒不可遏，可是于天庭有枪，奈何不得，最终范知道她就是李腊梅时，她也饮弹而死。 范无病为了混进警察局偷什么东西,将鸡血淋在刘贵身上.自己穿上警服假装抓到一个滋事者混了进去,得手后被一群打手追杀(记得其中有个背上有蝎子文身的大膀),后来在工地将沥青淋在他们头上才得以脱身；“震南门”之子郑尚功从日本回来誓报父仇，由于他出身豪门，又是留洋归来，衣冠楚楚……席太太一心撮合他与女儿席小婷结婚。小婷虽喜欢范无病，但迫于多方面压力,最终不得已嫁给了郑尚功。婚礼那天，警察来抓捕范无病，范藏在席小婷车里脱身，还没有上车的郑尚功发现车开走了连忙去追，而刘贵为了掩护范逃走被警察包围……新婚之夜，郑尚功向小婷亮出了底牌，而且他在日本已经有了老婆，席小婷受尽这个衣冠禽兽的凌辱后回到了家，可是父母都已经远去乐山，羞辱无助的她一下子扑进老管家的怀里…… 范无病决心遁迹空门，追随少林大师习武，大师藏有一柄断剑，是火烧少林之后主持的信物，持有者可成为新少林主持。师兄圆明心术不正，一心想成为新主持，偷取断剑；他假借与范无病切磋武功，暗中使用杀手“二指禅”欲取范无病性命，幸好大师及时看到并制止。不料，圆明又趁大师昏迷之际、范无病去打水之时将大师害死，偷了断剑，正欲逃走，被打水归来的范无病撞见，二人对峙起来，一番大战后，双方都精疲力竭，范无病挣扎着站起来将圆明踩在脚下，夺回了断剑。