'Boris Babaev, an Orthodox Jew from Tajikistan, meets a secular Jewish Mexican-American filmmaker in Poland. This documentary is the result, a lyrical and contemplative piece, which captures Boris's struggle to find his place in the world. When Boris encounters young Poles who are discovering their Jewish roots, he decides to prepare them a Kosher Tajikian dish, which means putting his skills as a Shochet or ritual slaughterer to the test. But before he can do so, he has to find a sheep...' Written by Anonymous

In 1998, seven years after the independence of the country, autocratic president Kazakh Noursoultan Nazarbaiev decides to move the capital of Almaty to Astana, the barren plains of the north. Vertiginous towers of glass rise above ground, financed by oil exports. A presidential speech in 1997 on the future of Kazakhstan opens the film, praising the “three social levels, the rich, the middle class and the poor”, and the infinite promises of the market. 　　Christian Barani and Guillaume Reynard see the birth of a new social level, in the standardized tinsel and foil of richness. Attempting to represent “the fiction which in each scene seems to have preceded reality”, until a change of scene by writer Darejan Omirbaev, they also venture backstage, a hut on a site of a recently expropriated maisonnette. A portrait of a melancholic person and poetic globalization through the ex-Soviet oligarchy, in full expansion.

In 1998, seven years after the independence of the country, autocratic president Kazakh Noursoultan Nazarbaiev decides to move the capital of Almaty to Astana, the barren plains of the north. Vertiginous towers of glass rise above ground, financed by oil exports. A presidential speech in 1997 on the future of Kazakhstan opens the film, praising the “three social levels, the rich, the middle class and the poor”, and the infinite promises of the market. 　　Christian Barani and Guillaume Reynard see the birth of a new social level, in the standardized tinsel and foil of richness. Attempting to represent “the fiction which in each scene seems to have preceded reality”, until a change of scene by writer Darejan Omirbaev, they also venture backstage, a hut on a site of a recently expropriated maisonnette. A portrait of a melancholic person and poetic globalization through the ex-Soviet oligarchy, in full expansion.

Norman这个犹太人对巴勒斯坦人的同情，站出来替弱小的巴勒斯坦出头，戳穿犹太组织和以色列的谎言等。 他在美国被犹太势力排挤，被学校变相开除后，他的DePaul University学生和大学同事们组织起的“学术自由”抗议的，他本人还是放弃了自己喜欢的教学，后来到处去演讲的。

Norman这个犹太人对巴勒斯坦人的同情，站出来替弱小的巴勒斯坦出头，戳穿犹太组织和以色列的谎言等。 他在美国被犹太势力排挤，被学校变相开除后，他的DePaul University学生和大学同事们组织起的“学术自由”抗议的，他本人还是放弃了自己喜欢的教学，后来到处去演讲的。

梦幻般的贝利莎 (迈克尔·津德尔饰) 只有 27 岁，但却过着退休老人的生活：他去咖啡馆、去市场，或者只是在定居点漫步。贝利莎仍然和他的母亲吉赛尔 (Agnès Jaoui 饰) 住在一起，她几乎从不出门，而贝利莎欺骗她，让她以为他已经牢牢融入了工作生活。 　　当最后一座犹太教堂和最后一家犹太杂货店都关闭时，形势发生了逆转。突然间，他们成了该地区最后一个犹太家庭。吉赛尔确信他们现在也必须离开，但贝莉莎并不想这样做。为了让母亲放心，他让她相信他正在为她的离开做准备——但随后她的健康状况迅速恶化。

《有一个青年》是中央电视台第一部实景拍摄的单本电视剧。 　　当年，扮演顾明华的张铁林和扮演徐薇的方舒进入北京电影学院七八级表演班学习不到一年。此剧播出后，在社会上引起强烈反响，当时在全国歌坛上崭露头角的殷秀梅关贵敏为这部电视剧配唱了一首非常有名的插曲《青春啊，青春》更被年轻人传唱一时，成为经典，而本剧也荣获了全国优秀电视剧评一等奖。

《有一个青年》是中央电视台第一部实景拍摄的单本电视剧。 　　当年，扮演顾明华的张铁林和扮演徐薇的方舒进入北京电影学院七八级表演班学习不到一年。此剧播出后，在社会上引起强烈反响，当时在全国歌坛上崭露头角的殷秀梅关贵敏为这部电视剧配唱了一首非常有名的插曲《青春啊，青春》更被年轻人传唱一时，成为经典，而本剧也荣获了全国优秀电视剧评一等奖。

首部在加沙拍摄的纪录片，追踪贾巴利亚难民营一个家庭的日常生活：祖辈被驱离家园，滞留在军事统治的加沙地带40多年，一家大小活在瓦砾、贫困和恐惧之中，小孩不知何处是家。加沙难民的人道困境如何造成？谁又需要负责？始作俑者侃侃而谈，军人视之为理所当然，交错对比着加沙居民每天面对的无力现实，勾勒出战争在巴勒斯坦人身上留下的沉痛后遗。

首部在加沙拍摄的纪录片，追踪贾巴利亚难民营一个家庭的日常生活：祖辈被驱离家园，滞留在军事统治的加沙地带40多年，一家大小活在瓦砾、贫困和恐惧之中，小孩不知何处是家。加沙难民的人道困境如何造成？谁又需要负责？始作俑者侃侃而谈，军人视之为理所当然，交错对比着加沙居民每天面对的无力现实，勾勒出战争在巴勒斯坦人身上留下的沉痛后遗。