这是范·克莱本钢琴大赛2013年度的官方纪录片，记录了从初赛到决赛过程中，众多参赛年轻人的高光时刻以及幕后的压力、心酸与付出，对主要角色的家庭成长背景亦有体现。此外，评委、指挥、组织者和乐评人的不同角度，让片子更为丰满。其中遗憾未能晋级的林易、Alessandro Deljavan都给人留下很深印象。此次比赛的最终获奖选手，霍洛坚科、贝雅特丽丝、陈宣尧后来都开启了成功的演奏事业，来自大陆的董菲菲在事业上也有不错的成绩。

这是范·克莱本钢琴大赛2013年度的官方纪录片，记录了从初赛到决赛过程中，众多参赛年轻人的高光时刻以及幕后的压力、心酸与付出，对主要角色的家庭成长背景亦有体现。此外，评委、指挥、组织者和乐评人的不同角度，让片子更为丰满。其中遗憾未能晋级的林易、Alessandro Deljavan都给人留下很深印象。此次比赛的最终获奖选手，霍洛坚科、贝雅特丽丝、陈宣尧后来都开启了成功的演奏事业，来自大陆的董菲菲在事业上也有不错的成绩。

《中华绝技108》集结独一无二、技艺超群的精彩。

心正则拳正，心邪则拳邪。 　　这正是中国武术——功夫的心得。 　　始于公元前3世纪格斗技艺的中国武术，艰难度过了两千数百年的动乱历史，如今，修行仍在继续。 　　据说中国武术有三大流派，河南省的少林派、湖北省的武当派以及四川省的峨眉派。 　　少林、武当、峨眉，难分高下的绝技，且一同走进中国武术那超乎想象的世界吧——

心正则拳正，心邪则拳邪。 　　这正是中国武术——功夫的心得。 　　始于公元前3世纪格斗技艺的中国武术，艰难度过了两千数百年的动乱历史，如今，修行仍在继续。 　　据说中国武术有三大流派，河南省的少林派、湖北省的武当派以及四川省的峨眉派。 　　少林、武当、峨眉，难分高下的绝技，且一同走进中国武术那超乎想象的世界吧——

本·斯蒂勒有望执导米高梅犯罪题材新片[75区警局]。该片根据蒂勒·罗素(Tiller Russell)执导的同名纪录片改编，讲述80年代腐败的纽约警局辖区，罪犯头目迈克尔·道德(Michael Dowd)1992年同几个敲诈勒索、贩卖毒品的腐败警察一同入狱，他在狱中服役14年。随着迈克尔·道德被捕，纽约警察中广泛的腐败行为随之暴露。该片原计划由扬·德芒热执导，斯科特·弗兰克(《后翼弃兵》)撰写剧本。

In honor of International Women's Year, CBC created this show which took the place of Luncheon Date in the noon slot each summer. With hosts, and often locations, alternated weekly, it covered a range of topics and guests from political figures to musicians. Prior to 1977, when Fred Latremouille and Guido Basso signed on, all hosts were female.

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Asyl is one of Kren's most formally ambitious works, an experiment in time lapse photography, multiple exposures, and segmented images. When he moved to a home in the country, Kren set up a static camera nearby, and over the course of 21 non-consecutive days, he fed the same strip of film stock through the camera once per day. In front of the lens, Kren also placed a masking board with holes in it, the placement of which was varied daily so that each time the film stock went through the camera, different areas of the image were exposed. The result is a film in which, within a single frame, time and space are made to overlap and coexist in unusual ways, creating impossible landscapes composed from footage shot on different days throughout the year. Sometimes, most of the film is exposed and the image becomes a collaged landscape, in which a snowbank runs directly into a grassy springtime meadow, or in which rain falls through the top half of the frame only to disappear when in reaches the bright sunshine of the lower half. At other times, the image is more pointillist, with distinct areas floating in the black frame like pieces of a puzzle that needs to be assembled. 　　The seasons run seamlessly into each other in this way, and time becomes hazy. Occasionally, a person will walk along the road in one part of the image, disappearing at an invisible border where the image fades into a different day, a different time. Kren is here reconfiguring film as a medium in which time and space cease to be linear in any sense. The film is instead about totalities; it invites the viewer to think about the progress of time and the way it generally works in cinematic images, and by contrast to process the multiple layered times implicit in each frame of Asyl. This short is Kren's finest work, with a conceptual purity and inventiveness that are unmatched even in his consistently intriguing oeuvre.

Asyl is one of Kren's most formally ambitious works, an experiment in time lapse photography, multiple exposures, and segmented images. When he moved to a home in the country, Kren set up a static camera nearby, and over the course of 21 non-consecutive days, he fed the same strip of film stock through the camera once per day. In front of the lens, Kren also placed a masking board with holes in it, the placement of which was varied daily so that each time the film stock went through the camera, different areas of the image were exposed. The result is a film in which, within a single frame, time and space are made to overlap and coexist in unusual ways, creating impossible landscapes composed from footage shot on different days throughout the year. Sometimes, most of the film is exposed and the image becomes a collaged landscape, in which a snowbank runs directly into a grassy springtime meadow, or in which rain falls through the top half of the frame only to disappear when in reaches the bright sunshine of the lower half. At other times, the image is more pointillist, with distinct areas floating in the black frame like pieces of a puzzle that needs to be assembled. 　　The seasons run seamlessly into each other in this way, and time becomes hazy. Occasionally, a person will walk along the road in one part of the image, disappearing at an invisible border where the image fades into a different day, a different time. Kren is here reconfiguring film as a medium in which time and space cease to be linear in any sense. The film is instead about totalities; it invites the viewer to think about the progress of time and the way it generally works in cinematic images, and by contrast to process the multiple layered times implicit in each frame of Asyl. This short is Kren's finest work, with a conceptual purity and inventiveness that are unmatched even in his consistently intriguing oeuvre.