受核废水排放影响，这时代一切的秩序片刻倾塌…… 董承明在朋友酒吧的万圣节主题派对上遇到了相熟的朋友，而此时的朋友已经是变异的感染者，而不止一人，更不止一处感染者已经侵蚀了整座城市，甚至整个世界。 酒吧后巷最早发现感染者并为此战斗的阴晓晴救了仓皇出逃的董承明和倪梦竹二人 。小组在这乱世中求存，并汇合志同道合的队友等等，众人不断寻求救世之道…… 董承明凭借超忆症带领众人在没有信号的情况下，精确的找到瓮城，在帮助阴晓晴隐藏半感染状态的同时，探索着救治她的办法。随着时间的推移，当人们逐渐掌握了感染者的规律的性情之后，人与感染者之间的矛盾已经逐渐演化为好人好感染者联盟与坏人坏感染者联盟的末日决战……

受核废水排放影响，这时代一切的秩序片刻倾塌…… 董承明在朋友酒吧的万圣节主题派对上遇到了相熟的朋友，而此时的朋友已经是变异的感染者，而不止一人，更不止一处感染者已经侵蚀了整座城市，甚至整个世界。 酒吧后巷最早发现感染者并为此战斗的阴晓晴救了仓皇出逃的董承明和倪梦竹二人 。小组在这乱世中求存，并汇合志同道合的队友等等，众人不断寻求救世之道…… 董承明凭借超忆症带领众人在没有信号的情况下，精确的找到瓮城，在帮助阴晓晴隐藏半感染状态的同时，探索着救治她的办法。随着时间的推移，当人们逐渐掌握了感染者的规律的性情之后，人与感染者之间的矛盾已经逐渐演化为好人好感染者联盟与坏人坏感染者联盟的末日决战……

受核废水排放影响，这时代一切的秩序片刻倾塌…… 董承明在朋友酒吧的万圣节主题派对上遇到了相熟的朋友，而此时的朋友已经是变异的感染者，而不止一人，更不止一处感染者已经侵蚀了整座城市，甚至整个世界。 酒吧后巷最早发现感染者并为此战斗的阴晓晴救了仓皇出逃的董承明和倪梦竹二人 。小组在这乱世中求存，并汇合志同道合的队友等等，众人不断寻求救世之道…… 董承明凭借超忆症带领众人在没有信号的情况下，精确的找到瓮城，在帮助阴晓晴隐藏半感染状态的同时，探索着救治她的办法。随着时间的推移，当人们逐渐掌握了感染者的规律的性情之后，人与感染者之间的矛盾已经逐渐演化为好人好感染者联盟与坏人坏感染者联盟的末日决战……

叙利亚影史上最著名也是最具争议性的一部纪录片，由毫不妥协的叙利亚导演Omar Amiralay拍摄，也是他的代表作。影片被禁至今，奥马尔流亡海外直到30年后才得以回国拍摄他的第二部作品。本片获1976年柏林国际影展新电影论坛Otto Dibelius奖。 　　The first documentary to present an unabashed critique of the impact of the Syrian government's agricultural and land reforms, Everyday Life in a Syrian Village delivers a powerful jab at the state's conceit of redressing social and economic inequities. Interviews with farmers, health workers and a police officer contrast the peasants' regard for the state with the mindset of state representatives toward those peasants. Sa'adallah Wannus, a prominent Syrian playwright and essayist collaborated with documentary pioneer Amiralay on the project. The film remains banned in Syria. The original print has been restored and digitized very recently, and subtitled in English especially for this program. 　　Director Omar Amiralay was born in Damascus in 1944 to the son of a high-ranking officer in the Ottoman military and a Lebanese mother, Omar Amiralay headed to Paris in 1965 to pursue studies in drama and theater at the Théatre des Nations. Gradually he began to lean towards cinema and enrolled at the Institut des Hautes Etudes Cinematographiques, or IDHEC (now known as FEMIS) in 1967. He was deeply suspicious of fiction cinema, and after a year at the institute began to question whether film was really his vocation. When the 1968 student revolt erupted, Amiralay joined the hordes of protestors, and began to film. His fate was sealed; he never returned to the IDHEC and instead began to make documentary films. 　　He returned to Damascus eager to instigate a new documentary cinema. His best-known documentary film, conceived with Sa'adallah Wannus, one of Syria's most celebrated modernist playwrights and essayists, was radically different. Titled al-Hayat al-Yaomiyyah fi Qarya Suriyya (Everyday Life in a Syrian Village, 1974) it was a scathing critique of the government's failure to provide basic amenities to the poor. The film, produced by the General Organization for Cinema, was banned and remains so to this day. 　　From very early on, Amiralay's films earned a number of awards worldwide, beginning with Leipzig (1971) for Film-Essay on the Euphrates Dam. His cinema has become canon for generations of documentary filmmakers in the Arab world. The most recent edition of the Cinema du Reel festival at Paris' Centre Pompidou dedicated an hommage to his work in March 2006.

叙利亚影史上最著名也是最具争议性的一部纪录片，由毫不妥协的叙利亚导演Omar Amiralay拍摄，也是他的代表作。影片被禁至今，奥马尔流亡海外直到30年后才得以回国拍摄他的第二部作品。本片获1976年柏林国际影展新电影论坛Otto Dibelius奖。 　　The first documentary to present an unabashed critique of the impact of the Syrian government's agricultural and land reforms, Everyday Life in a Syrian Village delivers a powerful jab at the state's conceit of redressing social and economic inequities. Interviews with farmers, health workers and a police officer contrast the peasants' regard for the state with the mindset of state representatives toward those peasants. Sa'adallah Wannus, a prominent Syrian playwright and essayist collaborated with documentary pioneer Amiralay on the project. The film remains banned in Syria. The original print has been restored and digitized very recently, and subtitled in English especially for this program. 　　Director Omar Amiralay was born in Damascus in 1944 to the son of a high-ranking officer in the Ottoman military and a Lebanese mother, Omar Amiralay headed to Paris in 1965 to pursue studies in drama and theater at the Théatre des Nations. Gradually he began to lean towards cinema and enrolled at the Institut des Hautes Etudes Cinematographiques, or IDHEC (now known as FEMIS) in 1967. He was deeply suspicious of fiction cinema, and after a year at the institute began to question whether film was really his vocation. When the 1968 student revolt erupted, Amiralay joined the hordes of protestors, and began to film. His fate was sealed; he never returned to the IDHEC and instead began to make documentary films. 　　He returned to Damascus eager to instigate a new documentary cinema. His best-known documentary film, conceived with Sa'adallah Wannus, one of Syria's most celebrated modernist playwrights and essayists, was radically different. Titled al-Hayat al-Yaomiyyah fi Qarya Suriyya (Everyday Life in a Syrian Village, 1974) it was a scathing critique of the government's failure to provide basic amenities to the poor. The film, produced by the General Organization for Cinema, was banned and remains so to this day. 　　From very early on, Amiralay's films earned a number of awards worldwide, beginning with Leipzig (1971) for Film-Essay on the Euphrates Dam. His cinema has become canon for generations of documentary filmmakers in the Arab world. The most recent edition of the Cinema du Reel festival at Paris' Centre Pompidou dedicated an hommage to his work in March 2006.

如果你的家人被指控谋杀，你会怎么做？该剧根据瑞典同名畅销书改编。

如果你的家人被指控谋杀，你会怎么做？该剧根据瑞典同名畅销书改编。

乡村女老师田希英用尽全力将七个孩子送出大山，并与他们立下十年之约，他们约定十年之后衣锦还乡报答老师的恩情，就在孩子们完成约定功成名就回乡之时，田希英的学校正要被拆除，田希英和七个孩子拼尽全力守护住了自己的学校。同时作为教师节的礼物，学生们在镇上建造一所新的学校，立志要传承老师的愿望，让更多孩子走出大山。