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伪装者1.0
类型：剧情片 集数：48集全年份：2002别名：伪装者|The Pretenders
简介：本剧为阿根廷史上最成功的电视剧之一。“伪装者” (Los Simuladores) 是一支由 4 名男子组成的专业突击队，他们受雇于向他们提出问题并寻求解决方案的人。Los Simuladores 根据雇主的问题制定不同的行动，扮演不同的角色，目的是解决每一个问题。
今与昔5.0
类型：喜剧片 集数：高清年份：1972别名：今与昔|PastandPresent
简介：Perhaps the most enjoyable Oliveira film I've watched so far also proved to be the most frustrating experience (through no fault of the genial Portuguese director, whom I saw at the 2004 Venice Film Festival): unfortunately, the copy shown on late-night Italian TV was of an atrocious quality – with intermittent picture loss, rampant pixellation and considerable stretches where the dialogue was so low and muffled as to be barely audible (thankfully, the movie was presented in its original language accompanied by Italian subtitles), despite the volume of my TV being practically set at its maximum level! The irony is that this was scheduled again on the very same channel just the other week and, had I known of the poor state of my copy, I'd have tried to record it again…though, of course, I would've had no guarantee that they were able get hold of a superior print unless I went through the whole thing over again! Anyway, having seen it, I'm now able to understand how Oliveira felt so completely at home making that Bunuelian tribute BELLE TOUJOURS (2006); in fact, this has much the same aura of elegant surrealism evident in the Spaniard's contemporaneous masterpiece THE DISCREET CHARM OF THE BOURGEOISIE (1972), while throughout Oliveira displays an admirably Ophulsian propensity for intricately mobile camera-work. The premise is original and quite delightful: a woman has lost a husband and remarried; she used to despise the former but, now, she realizes how much she actually loved him and, consequently, starts to neglect Spouse No. 2. Also, the first husband had an identical twin brother – so the wife feels closer to him than her current husband; the latter, humiliated by this awkward situation, commits suicide! Then, the sibling of the deceased confesses that he's actually the man she married and that it was his twin who had died (he just had the inexplicable urge to exchange identities with him!); so, the ex-bride and groom go to court to make their re-union legal…except that, by this time, it dawns on her that Husband No. 2 is the one she truly loves! Amid all this, their close circle of friends try to make head or tails of the woman's whims and quirks; further complications, however, arise out of the subplot involving a man who makes passes at two of the women (one's married, the other happily cohabiting with her divorced ex!). The latter turns him down flat, while his affair with the former proves no less volatile than the leading lady's roundabout ways; the man, then, deliberately picks a fight with his lover's husband – who had earlier also exchanged harsh words with the heroine's cynical second husband. Though lacking perhaps the cheerful mockery that Bunuel managed to bring to this essentially staid environment (even if the Mendelssohn score still lends it undeniable irony), Oliveira's script is both intelligent and witty – to which his small cast of unknown actors (to me, at least) respond extremely well. These extend to even the minor roles of butler and maid: apart from indulging in their own romantic dalliances from time to time, the butler is visibly annoyed in having to attend to the mansion's gates after every vehicle that calls at the premises (in fact, apart from a brief flashback and the church finale, we're virtually stuck on the grounds of this single location). He also witnesses the second husband's fatal leap from the window as well as the wife's escape from the very same room (in which she's been locked by Spouse No. 1 after her passion for his replacement is re-ignited), while the maid has no qualms about spying on her masters' violent squabbles through a keyhole. The ironic ending sees all concerned attending the wedding ceremony of a young bride and groom – with the central couple entering the church together but then taking separate seats away from one another because of lack of room; the emphasis placed on the newlyweds' promises of lifelong devotion obviously ring hollow at this point while, seemingly on a whim, Oliveira decides to end the film on an amusing shot of the church organist (sporting the somewhat clichéd unkempt appearance of the typical musicologist). It should be said here that PAST AND PRESENT is the first entry in the director's so-called "Tetralogy Of Frustrated Love" along with BENILDE OR THE VIRGIN MOTHER (1975), the five-hour TV serial DOOMED LOVE (1979) – both of which I own and intend to check out presently, as part of my ongoing retrospective honoring Oliveira's 100th birthday next month – and the as-yet unavailable FRANCISCA (1981).
预感讯号4.0
类型：泰国剧 集数：连载中待更新年份：2023别名：预感讯号|TheSign
简介：IDOLFACTORY制作 ，作家I-Rain-Yia的小说改编 《粉红理论》导演Kru A Nuttapong首部BL 作品。 「带着祈祷的力量和爱的束缚，两人再次相遇」 两名年轻的特别调查人员Phaya和Tarn之间羁绊的爱情。 前世相爱的他们，由于一些事件导致彼此分开，但通过祈愿和缘分，两人重生以新的身体再次相遇。 他们受到一个神秘的精神医生Chalothorn的阻碍，深不可测的变数是对这段关系的重要考验。
微笑Pasta9.0
类型：台湾剧 集数：17集全年份：2006别名：微笑Pasta|微笑百事达
简介：晓诗是微笑Pasta意大利面馆的宝贝女儿，她喜欢学长阿哲不但不喜欢她，还对她下了“恋情永远不会满三个月”的魔咒。阿哲的哥哥何群和他关系并不好，因为喜欢音乐投身乐坛，成为今天的歌坛小天王。何群新歌发布会当天，女友Rita被何哲带走，晓诗在街头看到现任男友劈腿。两人伤心地在街头偶遇，躲避狗仔队跟踪时不小心撞上晓诗而意外接吻，狗仔队见机拍下来。第二天，“小天王劈腿，街头拥吻秘密情人”的“亲吻照”上了头版新闻。经纪人为挽救危机，将计就计，宣布晓诗才是何群的女友。绯闻一闹，父亲何议长勒令何群转学，不料却转到晓诗就读的大学。这下可好，以为不会见面的绯闻男女变成同班同学，何群必须经常跟晓诗扮恩爱，还必须面对同校的阿哲和Rita。 深爱Rita的何群，始终暗恋阿哲的晓诗，这复杂矛盾的情愫，该如何解开……
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