"The Theme" is a film that had to stay on the shelf for almost ten years because of its "theme". Mikhail Ulyanov plays Kim Yesenin, a disillusioned and cynical playwright who uses the system by writing the conformist plays and enjoys the benefits of being the officially recognized and appointed "great Soviet writer" but who in reality has been used by a system and spent all the talent he ever had in writing the plays that had no artistic value whatsoever. Bitter irony lies in the name of the character: Sergei Yesenin was a real life enormously talented, widely popular and beloved Russian poet who committed suicide at the age of 30 in 1925 because he could not fit in the Soviet Russia. Kim Yesenin in the movie suffers the writing block and arrives to the small provincial town with a friend and a young mistress in search of inspiration. He meets an attractive, intelligent and well educated museum guide named Sasha (Inna Churikova never looked so beautiful and sophisticated and I finally understood why Panfilov always had been fascinated by her face, never conventionally pretty) who used to be a big fan of his earlier works but has a lot of unflattering things to say about his officially praised outings. Sasha is in love with a talented historian who had made a very difficult and life changing decision to emigrate from the Soviet Union. He had lost his job by becoming a dissident and had to work as a gravedigger to support himself while waiting for permission to leave the country. Those who never had to emigrate from their country knowing that they might leave forever and never be allowed to go back to see their loved ones and the places dear to their heart again would not fully understand why Panfilov's film had to stay on the shelf for almost ten year after it was completed. It was released only during the "perestroika" in 1987 and I saw it then. I respect Panfilov for his siding with the real artists rejected by the system but his film is not only a courageous statement against the conformity suffocating cultural life under the Brezhnev regime which would be later called "period zastoya" or "stagnation", it is a memorable work of cinema with very good performances from his muse, Inna Churikova, Mikhail Ulyanov, and supporting cast.

"The Theme" is a film that had to stay on the shelf for almost ten years because of its "theme". Mikhail Ulyanov plays Kim Yesenin, a disillusioned and cynical playwright who uses the system by writing the conformist plays and enjoys the benefits of being the officially recognized and appointed "great Soviet writer" but who in reality has been used by a system and spent all the talent he ever had in writing the plays that had no artistic value whatsoever. Bitter irony lies in the name of the character: Sergei Yesenin was a real life enormously talented, widely popular and beloved Russian poet who committed suicide at the age of 30 in 1925 because he could not fit in the Soviet Russia. Kim Yesenin in the movie suffers the writing block and arrives to the small provincial town with a friend and a young mistress in search of inspiration. He meets an attractive, intelligent and well educated museum guide named Sasha (Inna Churikova never looked so beautiful and sophisticated and I finally understood why Panfilov always had been fascinated by her face, never conventionally pretty) who used to be a big fan of his earlier works but has a lot of unflattering things to say about his officially praised outings. Sasha is in love with a talented historian who had made a very difficult and life changing decision to emigrate from the Soviet Union. He had lost his job by becoming a dissident and had to work as a gravedigger to support himself while waiting for permission to leave the country. Those who never had to emigrate from their country knowing that they might leave forever and never be allowed to go back to see their loved ones and the places dear to their heart again would not fully understand why Panfilov's film had to stay on the shelf for almost ten year after it was completed. It was released only during the "perestroika" in 1987 and I saw it then. I respect Panfilov for his siding with the real artists rejected by the system but his film is not only a courageous statement against the conformity suffocating cultural life under the Brezhnev regime which would be later called "period zastoya" or "stagnation", it is a memorable work of cinema with very good performances from his muse, Inna Churikova, Mikhail Ulyanov, and supporting cast.

一名神秘的教师来到了一座外省小镇的学校教书。但这名老师并没有老师的样子，他对事物的看法过于现代和自负。但整座小镇都很喜欢他，喜欢到超乎他的想象。

一名神秘的教师来到了一座外省小镇的学校教书。但这名老师并没有老师的样子，他对事物的看法过于现代和自负。但整座小镇都很喜欢他，喜欢到超乎他的想象。

In Theme Song, Acconci uses video as close-up to establish a perversely intimate relation with the viewer, creating a personal space in which to talk directly to (and manipulate) the spectator. He is face to face with the viewer, his head close against the video screen, lying cozily on the floor. Acconci writes, "The scene is a living room — quiet, private night — the scene for a come-on — I can bring my legs around, wrapping myself around the viewer — I'm playing songs on a tape recorder — I follow the songs up, I'm building a relationship, I'm carrying it through." Smoking cigarettes, he begins a seductive monologue as he plays "theme songs" by the Doors, Bob Dylan, Van Morrison, Kris Kristofferson and others on a tape recorder. The songs are a starting point for his come-ons; the tenor of his monologues shifts with the lyrics. "Of course I can't see your face. I have no idea what your face looks like. You could be anybody out there, but there's gotta be somebody watching me.

In Theme Song, Acconci uses video as close-up to establish a perversely intimate relation with the viewer, creating a personal space in which to talk directly to (and manipulate) the spectator. He is face to face with the viewer, his head close against the video screen, lying cozily on the floor. Acconci writes, "The scene is a living room — quiet, private night — the scene for a come-on — I can bring my legs around, wrapping myself around the viewer — I'm playing songs on a tape recorder — I follow the songs up, I'm building a relationship, I'm carrying it through." Smoking cigarettes, he begins a seductive monologue as he plays "theme songs" by the Doors, Bob Dylan, Van Morrison, Kris Kristofferson and others on a tape recorder. The songs are a starting point for his come-ons; the tenor of his monologues shifts with the lyrics. "Of course I can't see your face. I have no idea what your face looks like. You could be anybody out there, but there's gotta be somebody watching me.

一个家住深圳、不是广东人的大陆妈妈为了让自己在香港出生的三岁幼儿通过香港幼儿园的入学考试，和他一起踏上学习粤语的纠结之路。

高考前夕,高三年级班主任陈军正带领他的班级进行紧张的备考。陈军在监考模拟考试期间接到学校通知,他班中尖子生李仁明的姐姐闯入这所全封闭式的学校,想要接李仁明回家。在与李仁明姐姐的交谈中,陈军得知李仁明的父亲在前一日因矿难去世。为了学生的未来、学校的利益,面对学校、家庭和李仁明家人的压力,陈军不得不做出决定隐瞒李仁明父亲去世的消息。

扎龙岛小学校长曲老师在那儿已经工作了二十年。区教育局局长答应曲老师这次全区统考后，如果她的学生能连续十年排名第一，就把曲老师调到市里工作。考试完毕，曲老师发现学生们的答题大部分是错的。经过调查，曲老师发现孩子们是由于舍不得她离开，才故意将试题答错。面对可爱的学生，曲老师最后选择了留下。

影片考试描写了Mert、 Sinan、Gamze、Kaan和Uluç5个学生难熬的高中生活， 面对即将到来的大学联考，都承受着很大的压力。为了考上大学，他们必须尽可能提高自己的各科成绩，然而谈何容易，当一天他们中的一个人成功地偷到了一科考试的答案后, 一个大胆的想法被大家提出：为了通过入学考试，去窃取大学联考的考题答案库，但说起来容易做起来难，该如何实施行动？怎么才能接近被政府机构精心准备和像Fort Knox那样的武装警卫保护的考题答案呢？这世上只有一个贼（尚格云顿）能办到，但怎么才能说服他来土耳其并完成这项任务呢？