《捏造陷阱-NTR-》是コダマナオコ在杂志《COMIC百合姬》2015年1月号上开始连载的百合漫画作品，于2018年2月号连载结束。单行本日文版由一迅社出版，繁体中文版由东立出版社代理出版，简体中文版由布卡漫画正版刊载 ，全6卷。作品亦改编为同名电视动画。作者开始是想把两个女主角设定成已婚状态，但是后来觉得年龄太大了读者可能不太爱看。两个女主角如果设定成30岁的左右的话，会有种把“能一辈子跟这个人活下去吗”，把一辈子都堵上的感觉。而如果是设定为学生就是会有青春期那种独有的冲动情绪。设定为双方都是女孩子的原因是可以去很真实的想象双方的感觉。像是内心惹人烦的想法等等，可以去把不同的要素添加进去来塑造角色，而如果设定为男生的话只能靠想象和猜测去画了。 作者在作画的时候觉得由真比较难画，相反萤是比较简单画的，因为萤正好是作者喜欢的小恶魔类型。因为由真明明有着男朋友还总和闺蜜亲热，所以在作画的时候又要让读者感觉她是好女孩，但又不得不让她做很渣的行为。在画由真的时候如果不注意的话，真的就会变成令人讨厌的女生，所以作者尽量不让读者产生反感。至于藤原的话，由于他是扑克脸所以画起来比较轻松。作者自己对于表情方面的描写一直很不在行。作者觉得男性角色戏份在百合漫画里并不多见，在本作中算作是一种冒险。

一百名背景各异的强人参与了多种趣味实验，借以探究年龄、性别和幸福感等人性奥秘。

在这个风情涌动，黄金遍地的时代一代传奇重生归来。上一世，妻女的惨死让他无比惋惜。这一世，他未来记忆和自我发展产生火花，成就更辉煌的自己。

这是一部关于印度女性新闻从业者的纪录片。在这个男性主导的领域，诞生了印度唯一一份由达利特女性经营的报纸。首席记者梅拉和报社的其他女性同事一起，以智能手机为武器，在性别不公的前线与传统思想进行抗争，向世人证明女性能冲破家庭的束缚，通过工作展现出女性独有的力量。

A film starting from naught. With no prior research, no characters, no sites, nor specific themes, a film team arrive to the hinterland of Paraíba state in northeastern Brazil in search of people with stories to tell. In the village of São João do Rio do Peixe they come to Sítio Araçás, a rural community of 86 families, mostly relatives. With a girl from Araçás as mediator, the residents, in their majority, elderly, tell their life story, marked by popular catholicism, by a hierarchy, by a sense of family and honor - in a world fast disappearing. Written by Trassalg

A portrait of an art institution as a cinematic landscape: in a succession of static shots, James Benning explores the buildings and terrain of the California Institute of the Arts, where he teaches. A series of views of nature filmed in the surrounding park and woods transitions into images of floors, seating areas and other details of a public building not meant for show. In both parts, an uncanny feeling dominates: the geometries of nature, the dark green and brown tones, the rushing of the highway in the background on the one hand and the humming of halogen lamps, the sound of steps in an otherwise seemingly empty school on the other – it all seems to be hiding a secret. The camera’s gaze is almost always restricted; it rarely penetrates very far into the image. It discovers shabby corners, observing scenarios more reminiscent of a mystery novel than the campus of an art institution. More so than in the majority of James Benning’s longer works of recent years, a narrative lies concealed within the images; every shot creates an urge to move forward, a tension, almost as if the landscapes and interiors were the scenes of a crime.

90년대 한국 사회를 뒤흔든 그러나 지금은 잊혀진 지존파 사건을 되짚으면서 우리 사회를 들여보게 하는 영화. 지존파에서 출발해 성수대교 붕괴, 삼풍 백화점 붕괴, 5.18 주모자 처벌 문제 등으로 유연하게 흘러가는 영화는 픽션 보다 더 픽션 같은 논픽션 이야기를 품은 한국 사회를 ‘기록’한다. What happened in Korean society in the 1990s? The film starts with the Jijon-pa (Supreme Gangsters) case. The shocking story is narrated through the discussion by the two detectives who arrested the gangsters, of details of the roundup, data screens, and the death sentence. Nevertheless, Nonfiction Diary’s focus is not on the crime story. Starting from Jijon-pa onwards, the film reflects on the 1990s, when Korea digressed into contemporary history. The Seongsu Bridge and the Sampoong Department Store’s collapses are recalled, followed by the then-government’s punishment of the May 18 Uprising leaders, revealing the Korean legal system’s death penalty status, touching on political and power issues. The audience is reminded that today, 2013, is an extension of that same flow. Director Jung Yoonsuk’s Non-fiction Diary “records” the records by summoning forgotten incidents, utilizing interviews and the media’s data screens. This record is a “report”on contemporary society as well as a “record of the remembrance”. (HONG Hyosook) 18th Busan International Film Festival Documentary Competition

内详

Gunmaker, an indie rock singer, whose musical partner died a year ago. He throws his whole being into touring, howling for freedom in a contemporary society rife with contradictions—all the while under surveillance by the authorities.

影片通过记录主人公的童年、青少年时期、婚姻生活和为人父母的生活经历，成功刻画了李小龙站在时代前沿的雄心壮志，同时展现出了他在钻研截拳道过程中形成的哲学基础，以及他个人混合武术的流派风格。