Series looking at the revolution in 20th century music. 　　Wrecking Ball 　　It begins by examining the shift in the language and sound of music from the melodies and harmonies of giants such as Mozart, Haydn and Brahms into the fragmented, abstract, discordant sound of the most radical composers of the new century - Schoenberg, Webern, Stravinsky and beyond. It examines how this new music was a response to the huge upheaval in the world at the start of the 20th century, with its developments in technology, science, modern art and the tumult of the First World War. Featuring performances of some of the key works of the period, performed by the London Sinfonietta, members of the Aurora Orchestra and composer and pianist Timothy Andres, the story of this episode in music history is brought to life through the contributions of the biggest names in modern classical music, among them Steve Reich, John Adams, Michael Tilson Thomas, Pierre Boulez, George Benjamin and Alex Ross, music critic of the New Yorker. 　　Free for All 　　Part 2 examines how the freewheeling modernism that had shocked audiences in the first two decades of the century came under state control. Initially, many practitioners thought the totalitarian regimes would be good for music and the arts. What followed in Germany was a ban on music written by Jews, African-Americans and communists, while in the Soviet Union there was a prohibition on music the workers were unable to hum. After the cataclysm of the 1940s, a new generation of composers - Boulez, Stockhausen, Xenakis, Nono, Ligeti - turned their back on what they saw as the discredited music of the past and tried to reinvent it from scratch. Or, at least, from serialism, which became as much of a straitjacket as totalitarianism's strictures had been. But from this period of avant-garde experimentation, which many listeners found baffling and terrifying, came some of the most influential and radical musical innovations of the century. 　　Easy Listening 　　Series concludes with the focus shifting to the United States in the post-war years of the 1950s and beyond. Beginning with arguably the most notorious work of 20th century classical music, John Cage's 'silent' composition 4'33", it looks at how a series of maverick Americans re-invented the sound of classical music into a more simple form, bringing back harmonies and rhythms that made it increasingly popular with audiences across the world. It also examines how this music found its way into a spiritual realm, with the strain of pared-down religious composition that came to be known as 'holy minimalism'. From the Maverick concert hall in Woodstock, New York to an Orthodox cathedral in Estonia to a car park in Peckham, south London, the story is told by a stellar line-up of contributors including Philip Glass, Steve Reich, John Adams, Arvo Pärt and John Tavener.

Series looking at the revolution in 20th century music. 　　Wrecking Ball 　　It begins by examining the shift in the language and sound of music from the melodies and harmonies of giants such as Mozart, Haydn and Brahms into the fragmented, abstract, discordant sound of the most radical composers of the new century - Schoenberg, Webern, Stravinsky and beyond. It examines how this new music was a response to the huge upheaval in the world at the start of the 20th century, with its developments in technology, science, modern art and the tumult of the First World War. Featuring performances of some of the key works of the period, performed by the London Sinfonietta, members of the Aurora Orchestra and composer and pianist Timothy Andres, the story of this episode in music history is brought to life through the contributions of the biggest names in modern classical music, among them Steve Reich, John Adams, Michael Tilson Thomas, Pierre Boulez, George Benjamin and Alex Ross, music critic of the New Yorker. 　　Free for All 　　Part 2 examines how the freewheeling modernism that had shocked audiences in the first two decades of the century came under state control. Initially, many practitioners thought the totalitarian regimes would be good for music and the arts. What followed in Germany was a ban on music written by Jews, African-Americans and communists, while in the Soviet Union there was a prohibition on music the workers were unable to hum. After the cataclysm of the 1940s, a new generation of composers - Boulez, Stockhausen, Xenakis, Nono, Ligeti - turned their back on what they saw as the discredited music of the past and tried to reinvent it from scratch. Or, at least, from serialism, which became as much of a straitjacket as totalitarianism's strictures had been. But from this period of avant-garde experimentation, which many listeners found baffling and terrifying, came some of the most influential and radical musical innovations of the century. 　　Easy Listening 　　Series concludes with the focus shifting to the United States in the post-war years of the 1950s and beyond. Beginning with arguably the most notorious work of 20th century classical music, John Cage's 'silent' composition 4'33", it looks at how a series of maverick Americans re-invented the sound of classical music into a more simple form, bringing back harmonies and rhythms that made it increasingly popular with audiences across the world. It also examines how this music found its way into a spiritual realm, with the strain of pared-down religious composition that came to be known as 'holy minimalism'. From the Maverick concert hall in Woodstock, New York to an Orthodox cathedral in Estonia to a car park in Peckham, south London, the story is told by a stellar line-up of contributors including Philip Glass, Steve Reich, John Adams, Arvo Pärt and John Tavener.

A small-town cook impersonates his big city chef twin to compete in a culinary contest and falls for the woman in charge of the event, who thinks he is the brother who is married.

This mystery-tinged 'Martial Arts World' epic was one of director Chu Yuan and novelist Ku Lung's last together for the Shaw Studios, but it's another action-filled winner. Liu Yung and Sun Chien team to investigate the martial arts murders of a supposedly mortally wounded swordsman, only to find deception, death, double-dealings, imposters, and one deadly duel after another. No less than three choreographers are on hand to handle the multitude of magnificent martial arts.

The definitive documentary on the history of nudity in feature films from the early silent days to the present, studying the changes in morality that led to the use of nudity in films while emphasizing the political, sociological and artistic changes that shaped that history. Skin will also study the gender inequality in presenting nude images in motion pictures and will follow the revolution that has created nude gender equality in feature films today.

First, a question to the viewer: if it were raining indoors, where would we seek shelter from the insistent drops? Where would we feel safe and dry? We have to go to the other side of the threshold. Suddenly a bell rings, and who is it ringing for? “I spoke to me, he to he, she to she, the ground spoke to the ground, the trees to the tree. Meanwhile inside, the familiarity of that well met rain continues to be falling…“ writes the director. 　　The animation, which evokes the presence of a hand, is like pleasant afternoon rain in summer – a time for contemplation, talking to oneself, and beholding a sky at dusk. Australian-born Milly Yencken studied painting in Tasmania and received her classical animation training in Vancouver, continuing her studies at Masters level at the Estonian Academy of Arts. Her work combines oil painting with charcoal to create her signature brand of colour brutalism and fauvist embellishment, attempting to create spaces and images that are immersive and invite reflection in the viewer. 　　源自：https://rigaiff.lv/en/films-2023/austrumlietus/

First, a question to the viewer: if it were raining indoors, where would we seek shelter from the insistent drops? Where would we feel safe and dry? We have to go to the other side of the threshold. Suddenly a bell rings, and who is it ringing for? “I spoke to me, he to he, she to she, the ground spoke to the ground, the trees to the tree. Meanwhile inside, the familiarity of that well met rain continues to be falling…“ writes the director. 　　The animation, which evokes the presence of a hand, is like pleasant afternoon rain in summer – a time for contemplation, talking to oneself, and beholding a sky at dusk. Australian-born Milly Yencken studied painting in Tasmania and received her classical animation training in Vancouver, continuing her studies at Masters level at the Estonian Academy of Arts. Her work combines oil painting with charcoal to create her signature brand of colour brutalism and fauvist embellishment, attempting to create spaces and images that are immersive and invite reflection in the viewer. 　　源自：https://rigaiff.lv/en/films-2023/austrumlietus/

In this sequel to "Cabaret Sin", two fugitives have stolen some device with which they can leave sexually oppressed earth. But the System wants it back – at any cost.

The story takes place in 19th century Europe, and revolves around John Watson. He is scouted by the government to become a secret agent. However, Watson lives in a world where "Frankensteins"—human corpses that are re-purposed with a false soul in order to use them as laborers—are used to improve industrial development.

A group of beautiful female vampires lure men to their estate so they can feed on their blood.