2008年，新版《劳动法》颁布。陕西商洛市一批电信工人因养老诉求未得到解决。他们开始上访维权。2016年，大批即将退休的上访老工人被无辜清退。2017年秋，逼入绝境的56位商洛老工人一纸诉状将中国电信诉至法院。2018年，北京的艺术家王楚禹回到故乡商洛，以行为艺术的方式参与了工人的街头维权行动。一年后，王楚禹带领着一个小型的电影摄制组再次来到商洛，开始了这部纪录片的拍摄。在拍摄过程中重重矛盾逐渐显现，现实并非像艺术家想象的那么简单。

Kigali, Rwanda. 　　“- Everybody talked about it at a certain point. 　　- So, do you think it's true? 　　- I can only describe it from what I've seen on television. A huge pointy element that pierced the ground. And the earth around it... [makes gestures] fell everywhere. Disturbing the peace, disturbing the status quo, the way things are."

Kigali, Rwanda. 　　“- Everybody talked about it at a certain point. 　　- So, do you think it's true? 　　- I can only describe it from what I've seen on television. A huge pointy element that pierced the ground. And the earth around it... [makes gestures] fell everywhere. Disturbing the peace, disturbing the status quo, the way things are."

Bruno Santini passionate ideals of Justice and Equality are put to test when he faces the tasks of adulthood, such as getting a job at an industry in Florence and facing working conditions.

Lise, a mentally unbalanced middle-aged woman, travels from her home in Hamburg, Germany to Rome, Italy where she embarks on a fatal destiny that she had helped to arrange for herself – a premeditated search for someone, anyone, with whom she could form a dangerous liaison. Lise meets a variety of people during her journey and stay in Rome who include Bill, a lecherous British businessman that she meets on the plane to Rome who tries to seduce her; Carlo, a young man whom Lise tries to know more about; an elderly Englishwoman named Mrs. Fiedke whom Lise bonds with to go shopping; and Pierre, a Frenchman who picks up Lise hoping to seduce her as well. 　　The film is told in a non-linear narrative as throughout the film are scenes of the local Rome police interviewing all the people that Lise interacted with as well as investigating the reasons for her strange behavior that led up to her own murder.

Synopsis 　　Middle-school teacher Myeong-ho (Hwang-hae), who comes from a poor family, and Bu-nam (Yang Hun), whose father is the president of a trading company, attended the same university. When both men develop gastric disordersBu-nam ate too much and Myeong-ho couldn't get enough to eatthe doctor proposes that they exchange lifestyles for two weeks. Living in each other's homes, each young man falls in love with the other's sister, and the two couples get married in a joint wedding ceremony. 　　Notes 　　"The filmization of a stage musical, and the fusion of film and mass entertainment" (Chung Jong-wha) 　　Hyperbolae of Youth lay claim to the title of Korea's first comedy movie, with a cast comprising such comic actors as Yang Hun, Yang Seok-cheon, and Kim Hee-gap. It affords us a glimpse into the cinematic sensibility and generic interest of Han Hyung-mo, who was the most commercially successful director of his day, and falls between The Hand of Destiny (Unmyeong-ui son) and Madame Freedom (Ja-yu bu-in) in his filmography. The movie tells a simple story: a brother and sister from a wealthy family fall in love their opposite-sex counterparts from a poor family, thus mature into well-rounded individuals, and make happy marriages. In this basic synopsis, even the fundamental difference of social status does not pose much of an obstacle. In fact, the extent to which the film straightforwardly endows the improverished brother and sister with positive values makes it seem rather simplistic. However, the movie's main interest does not lie in its story or theme. Instead, it concentrates on making the most of the generic elements of comedy and musical in order to maximize its own entertainment value. This agenda becomes manifestly clear from the film's characterizations. That is, the two male leads are comically rendered as a rich man's son who is sick from eating too much and a poor man's son who is sick from not eating enough. Musical elements are also introduced as a means of reinforcing the film's entertainment value. In the first half, for instance, the film's musical director Park Si-chun, in the role of the doctor, accompanies the nurses on his guitar as they sing a pop song. This scene, which has no relation to the plot, was inserted solely for the purpose of enhancing the movie's generic appeal as a musical. The same holds true for the scene in which Kim Hee-gap appears mid-film as a man carrying a wooden rack on his back to sing a medley of popular Korean songs. Such generic elements boost the film's entertainment value while infusing the whole with a cheerful and upbeat atmosphere. Hyperbolae of Youth may well be called the finest feel-good movie of the 1950s.

凯瑟琳 （Catherine） 是一位包容性天主教合唱团的母亲和合唱团指挥，她将如何成为凯茜 （Cathy），并着手通过为残疾人提供性陪伴来征服快乐。

Soviet era science-fiction is something that holds a great fascination as an x-ray of the zeitgeist of its times in exactly the same way that 1950s Hollywood B movies are fascinating historical artefacts for the way that they amplify fears of the Atomic Age and of the Communist threat. The Soviet films are fascinating in very different ways to their American counterparts – you can, for example, look through any of the Eastern Bloc science-fiction films of this era in vain in search of a work where they fear an invasion of the USSR by aliens that are a thinly disguised allegory for the United States. Moreover, there was only a single Soviet film, Letters from a Dead Man (1986) – which was made well into the era of perestroika – that deals with the issue of nuclear war and none at all that feature atomic monsters. Rather most of the Soviet science-fiction films of the 1950s and 60s seem political/ideologically driven works that feature noble scientists and engineers of the regime as they boldly carry the Communist cause to the stars. See efforts such as The Heavens Call (1959), Storm Planet (1962), Andromeda Nebula (1967), Moscow-Cassiopeia (1973), and works from non-Russian countries such as First Spaceship on Venus (1959) and Ikarie XB-1/Voyage to the End of the Universe (1963). Most of these were brought up by Roger Corman and AIP and re-edited into titles like Battle Beyond the Sun (1963), Voyage to the Prehistoric Planet (1965), Queen of Blood (1966) and Voyage to the Planet of Prehistoric Women (1968). These are not fearful films like their American counterparts, rather they seem lit up by the grand ideals of colonising the universe that caught the Soviet imagination during the Space Age. 　　The Hyperboloid of Engineer Garin is based on The Hyperboloid of Engineer Garin/The Garin Death Ray (1927), a novel by Alexei Tolstoy, the writer whose original work also became the basis of the very first Soviet science-fiction film, the silent classic Aelita (1924). The film would appear to be a fairly accurate translation of the book from what I can gather, even retaining the 1920s setting of its original publication. The one thing that left me puzzled was the reference to the death ray as an hyperboloid. My immediate thought was to think of the literary term ‘hyperbole’, which means a form of exaggeration that is not meant to be taken literally, but apparently an hyperboloid is a curved three-dimensional surface. 　　The first half of The Hyperboloid of Engineer Garin takes place as a spy thriller. It is fascinating to see as a counterpoint to the numerous English-language spy films that were being made around this era such as the James Bond and Harry Palmer films or more serious works like The Spy Who Came in from the Cold (1965). These often featured the Soviets as villains but here we are seeing a spy film from the opposite side of the political fence. Like many of these others, The Hyperboloid of Engineer Garin takes place in a series of freewheeling international locations, which are often lavishly presented. I began to get into the film, impressed by the directorial style that Alexander Gintsburg was showing where many of the scenes are shot in an exaggeratedly heavy contrast of light and shadow that immediately recalls the world of The Third Man (1949). On the minus side, you get the feeling that the film is compacting down the complicated plotting that takes place in the book. What we end up with is a murkily incomprehensible plot that involves the murder of a double of Garin, international blackmail and sabotage, multiple murder plots and a number of factions running around all seeking to either kill Garin or get their hands on his discovery, at the same time as he tries to find a colleague who has gone into hiding in a remote part of the world. 　　It is when it unveils its hyperboloid about halfway through that The Hyperboloid of Engineer Garin starts to come to life as a science-fiction film. There is the fascinating scene where Yevgeny Yevstigneyev’s Garin is holed up in a villa as several people come after him and so switches the hyperboloid on and eliminates all his opponents by sweeping the heat ray across the door. Thereafter the film abandons the spy thriller aspect and becomes a film about an amazing discovery. Here it starts to resemble one of the German classics of the early sound era – the likes of F.P.1 Does Not Answer (1932), The Tunnel (1933) and Gold (1934), which were films made about scientific discoveries that marvelled in the sheer power of engineering projects. There is a great fascination to the scenes of the machine drilling through the Earth to reach the olivine layer, the vast project built on the island and especially the scenes where Yevgeny Yevstigne

《动力澎湃》是中央广播电视总台倾力打造的纪录片项目，得到工信部、国资委等国家部委和中央企业大力支持，十多位院士专家参与节目策划与方案设计。纪录片讲述超级工程背后超级装备、超级制造、超级动力的故事，呈现人与机器的智慧碰撞，探讨“创新”作为引领发展的第一动力，如何为中国制造提供高质量科技供给，支撑现代化经济体系建设。 　　纪录片用“大国重器”讲述新时代高质量发展的中国故事——第一集《燃烧的力量》、第二集《绿色的脉动》、第三集《电驱加速度》、第四集《重装夺巧工》、第五集《聚力天地间》、第六集《数字新引擎》。该片共分六集，每集50分钟，将于2021年5月17日至22日每晚21：30在央视财经频道播出。

《动力澎湃》是中央广播电视总台倾力打造的纪录片项目，得到工信部、国资委等国家部委和中央企业大力支持，十多位院士专家参与节目策划与方案设计。纪录片讲述超级工程背后超级装备、超级制造、超级动力的故事，呈现人与机器的智慧碰撞，探讨“创新”作为引领发展的第一动力，如何为中国制造提供高质量科技供给，支撑现代化经济体系建设。 　　纪录片用“大国重器”讲述新时代高质量发展的中国故事——第一集《燃烧的力量》、第二集《绿色的脉动》、第三集《电驱加速度》、第四集《重装夺巧工》、第五集《聚力天地间》、第六集《数字新引擎》。该片共分六集，每集50分钟，将于2021年5月17日至22日每晚21：30在央视财经频道播出。