改編自連加恩小說「愛呆西非連加恩」，講述來自虔誠基督教家庭的替代役男連懷恩，放棄預官職位，前往非洲協助當地居民的種種紀事，由王小棣導演執導，遠赴西非拍攝而成。故事探討「命運中的不平等」在非洲和在資源貧乏的台灣山區部落一樣令人感受深刻，但是即使是生活在同一個屋簷下的人，因為基因組成各異，往往造成不同性格、不同命運。 　　透過錯綜複雜的人際關係，透過台灣和非洲的社會觀察，本劇探討容易受傷的一顆心是什麼時候開始佈滿傷痕的，並試圖探尋救贖的可能。希望藉由它讓人們了解：愛應該多勇敢。

改編自連加恩小說「愛呆西非連加恩」，講述來自虔誠基督教家庭的替代役男連懷恩，放棄預官職位，前往非洲協助當地居民的種種紀事，由王小棣導演執導，遠赴西非拍攝而成。故事探討「命運中的不平等」在非洲和在資源貧乏的台灣山區部落一樣令人感受深刻，但是即使是生活在同一個屋簷下的人，因為基因組成各異，往往造成不同性格、不同命運。 　　透過錯綜複雜的人際關係，透過台灣和非洲的社會觀察，本劇探討容易受傷的一顆心是什麼時候開始佈滿傷痕的，並試圖探尋救贖的可能。希望藉由它讓人們了解：愛應該多勇敢。

方周生日那天失业又失恋，于是去到克拉玛依找小表弟要债，因为本身拥有良好的身体素质和户外技术，又加上失业无处落脚等原因，为了在蓝舟新基地蹭吃蹭住报名加入救援队，由此展开了一系列故事.……

方周生日那天失业又失恋，于是去到克拉玛依找小表弟要债，因为本身拥有良好的身体素质和户外技术，又加上失业无处落脚等原因，为了在蓝舟新基地蹭吃蹭住报名加入救援队，由此展开了一系列故事.……

ロードムービーを撮りたい映画監督の小島桐子。限られた予算、決まらないキャストなど数々のトラブルにより理想と現実が乖離する中で、桐子が取った選択とは。PFF入選作『豚とふたりのコインランドリー』の蘇鈺淳監督作品。

ロードムービーを撮りたい映画監督の小島桐子。限られた予算、決まらないキャストなど数々のトラブルにより理想と現実が乖離する中で、桐子が取った選択とは。PFF入選作『豚とふたりのコインランドリー』の蘇鈺淳監督作品。

狐妖白逍借用灵珠闭关修炼，只差几天便可功德圆满，却被冒失少女夏葵一跤跌在他身上。白逍不仅修炼被打断，还被当萨摩耶送到宠物医院。宝贵灵珠，亦被夏葵拿走，打算摆到她的淘宝小店上当假古董卖。白逍追到小葵家，灵珠竟以小葵做了宿主，他欲杀夏葵而夺珠，却被夏葵做的红烧肉诱惑。而此时，白逍眼前的世界越来越让他惊奇，不仅红烧肉前所未见，还有电灯，微波炉，完全在其经验之外。原来白逍竟是一只唐朝的狐狸精，一觉醒来，人间已变成现代社会。这就是唐朝妖法遇到现代科技，纵使高冷范儿十足的白逍也露惊慌相。小葵看出他的疑惧和好奇，趁机骗得几日活命时间，以向单恋的学长表白。但令这对啼笑皆非冤家怎么也想不到的是，灵珠现世，竟悄然激活了冰冷都市丛林中无数匪夷所思的奇异妖灵，纷纷前来搅扰。为保灵珠不被抢走，白逍被迫当起小葵的贴身保镖。一个冷面唐朝狐少年，一个呆萌贪财少女，被迫生活在一起，经历这大都市中最诡异的阴谋以及最暖心的情感。

狐妖白逍借用灵珠闭关修炼，只差几天便可功德圆满，却被冒失少女夏葵一跤跌在他身上。白逍不仅修炼被打断，还被当萨摩耶送到宠物医院。宝贵灵珠，亦被夏葵拿走，打算摆到她的淘宝小店上当假古董卖。白逍追到小葵家，灵珠竟以小葵做了宿主，他欲杀夏葵而夺珠，却被夏葵做的红烧肉诱惑。而此时，白逍眼前的世界越来越让他惊奇，不仅红烧肉前所未见，还有电灯，微波炉，完全在其经验之外。原来白逍竟是一只唐朝的狐狸精，一觉醒来，人间已变成现代社会。这就是唐朝妖法遇到现代科技，纵使高冷范儿十足的白逍也露惊慌相。小葵看出他的疑惧和好奇，趁机骗得几日活命时间，以向单恋的学长表白。但令这对啼笑皆非冤家怎么也想不到的是，灵珠现世，竟悄然激活了冰冷都市丛林中无数匪夷所思的奇异妖灵，纷纷前来搅扰。为保灵珠不被抢走，白逍被迫当起小葵的贴身保镖。一个冷面唐朝狐少年，一个呆萌贪财少女，被迫生活在一起，经历这大都市中最诡异的阴谋以及最暖心的情感。

《Bravo My Life》讲述了电视台助理导演、准备七年还未能出道的演员，以及在电视台目中无人的绝对掌权者之间的故事。延政勋将在剧中饰演电视剧PD申东宇，郑柔美则将饰演一直未能升职的助理导演河度娜，显祐将在剧中饰演准备7年都未能出道的演员金范宇。

1997, 75 min., colour, BETACAM SP, Stereo 　　The Japan Foundation, North Foundation, Pandora Co., Ltd (Japan) 　　Special thanks to Hiroko Kodjima 　　scenario: A. Sokurov 　　camera: A. Fedorov 　　sound: S. Moshkov 　　editor: L. Semenova 　　“My journey to your sorrowful country cannot finish… even here in Russia. 　　I can't part with feelings which have captured me… as if my soul had been in search of Beauty and Kindness. If not — what for have I deserved this gift, this meeting… 　　I have arrived in the twilight. The noise of the wind and my tiredness didn't let me fall asleep. 　　I was lying on the floor, there was a small lamp at my head, the bedding had been thrown over the mat. 　　I don't know why, but I began to think about the war, and the scenes of unknown life appeared before me from the past… or, perhaps, from the future; Somebody’s children… somebody's mothers… 　　The summer was warm… 　　Then the morning came, windy, cold and sunny… I examined the house cautiously. It was empty… 　　Then, I remember, I turned back, having heard a creak. 　　It seemed she had not yet noticed me… I decided to come nearer. 　　I can remember well enough, how everything became interesting: walls, utensils, wind, light, sounds — all her life. 　　We agreed that she would let me stay near her all the time All the hours and minutes that I could spend in her old house. I sat near her with her permission. And it was really necessary: I could contem­plate her to my heart's content.” 　　Alexander Sokurov (from the author's text to the film) 　　A myth about lost harmony, which is always with us, though we often cannot feel it, is further developed in this film by Alexander Sokurov. The material used here is concrete and, at first sight, quite fit for TV. The whole work is unhurried and detailed report from an old solitary house, lost in the mountains, in the village of Aska, prefecture Nara, Japan, where an old woman, whose name is Umeno Matshueshi, lives alone. But filmmaker's creative task is quite opposed to the TV information stream. It is not only because this subject, this person couldn't be of any interest for any TV crew in any country (and least of all, perhaps, in modern Japan). 　　Sokurov's camera doesn't watch this character, doesn’t ask any questions, doesn’t surprise her, but extracts uninterrupted poetical image out of the trivial details of this physical reality, out of this extinct life and daily routine. The image is epic and lyrical at the same time. Refined simplicity of Japanese landscape, interior, a series of portraits are not a representation of “couleur local,” but only the sign of ideal technique of the ideal description, allowing to enter this life. The woman, who remains silent throughout the whole film, cooking and eating, kindling the fire and sewing, giving alms and combing her hair before us, recites in the final poem as a prayer: artless and sorrowful tanku about loneliness, about the constancy of losses and gainings. Sokurov shoots this unexpected stroke in his personage's portrait as a lyrical coda of his work.