102岁的老爸是个每天只求活得精彩的老顽童，儿子却是个谨慎小心甚至有点“丧”的小老头，而且突然被父亲通知要被“赶去”养老院，否则就要完成一系列的疯狂改造任务。老爸一方面要赶走儿子内心积攒多年的阴霾，让儿子重新热爱生活，另一方面还要面对如何处理不孝孙子的亲情冲突与博弈。在完成任务的过程中，父子两人有温馨欢乐也有争吵冲突，而就在儿子即将完成所有任务，重拾对生活热情时，却发现改造计划背后更感人的秘密 。

102岁的老爸达特利（阿米达普·巴强 饰）是一个有着26岁灵魂、精神奕奕的酷老头，他75岁的儿子巴布（里希·卡普尔 饰）却暮气沉沉刻板无趣。

《102岁不落伍》是一部2018年的家庭喜剧电影，传奇演员阿米达普巴强饰演了一位102岁的父亲，他想要打破最老的人的纪录。 另一位宝莱坞传奇人物里希卡普尔…

同作は、広島・尾道市の自然に囲まれた家で一人暮らしをする石井哲代さんの101歳から104歳までの日々を見つめたもの。1920年生まれで、小学校教員や民生委員として地域のために尽くしてきた哲代さんは、地域の人たちから「先生」と呼ばれ、親族や近所の人たちのサポートと公的支援を受けながら生活している。その前向きな姿勢とユーモアあふれる言葉を紹介した書籍「102歳、一人暮らし。哲代おばあちゃんの心も体もさびない生き方」「103歳、名言だらけ。なーんちゃって 哲代おばあちゃんの長う生きてきたからわかること」は累計21万部を超えた。

在一座新兴的港口城市，黑帮势力依然庞大。虽然警方对代表人物胜又清次（杉浦直樹 饰）进行了接二连三的打击，但皆因证据不足而难有进展。检察厅官员狩田（安井昌二 饰）偶然得知，五年前自杀的西田议员（小泉郁之助 饰）与胜又有着千丝万缕的关系，更有三名证人指证胜又正是杀害西田的凶手。为了抓住这个恶霸的把柄，检察方约请证人见面，然而证人之一岛原（宍戸錠 饰）却在途中死于非命。万般无奈，检察方将希望另一名证人橘（石原裕次郎 饰）能够指证胜又。这个浪子回头的年轻人，不仅面临着艰难的选择，更要面对黑暗和阴谋的侵袭…… 　　本片根据石原慎太郎的原作改编。

Tati and Renet were already trading pics, videos and music by their cell phones, and on the last school trip they started making eye contact. However, what could be the beginning of a love story, turns to an end.

狐妖白逍借用灵珠闭关修炼，只差几天便可功德圆满，却被冒失少女夏葵一跤跌在他身上。白逍不仅修炼被打断，还被当萨摩耶送到宠物医院。宝贵灵珠，亦被夏葵拿走，打算摆到她的淘宝小店上当假古董卖。白逍追到小葵家，灵珠竟以小葵做了宿主，他欲杀夏葵而夺珠，却被夏葵做的红烧肉诱惑。而此时，白逍眼前的世界越来越让他惊奇，不仅红烧肉前所未见，还有电灯，微波炉，完全在其经验之外。原来白逍竟是一只唐朝的狐狸精，一觉醒来，人间已变成现代社会。这就是唐朝妖法遇到现代科技，纵使高冷范儿十足的白逍也露惊慌相。小葵看出他的疑惧和好奇，趁机骗得几日活命时间，以向单恋的学长表白。但令这对啼笑皆非冤家怎么也想不到的是，灵珠现世，竟悄然激活了冰冷都市丛林中无数匪夷所思的奇异妖灵，纷纷前来搅扰。为保灵珠不被抢走，白逍被迫当起小葵的贴身保镖。一个冷面唐朝狐少年，一个呆萌贪财少女，被迫生活在一起，经历这大都市中最诡异的阴谋以及最暖心的情感。

狐妖白逍借用灵珠闭关修炼，只差几天便可功德圆满，却被冒失少女夏葵一跤跌在他身上。白逍不仅修炼被打断，还被当萨摩耶送到宠物医院。宝贵灵珠，亦被夏葵拿走，打算摆到她的淘宝小店上当假古董卖。白逍追到小葵家，灵珠竟以小葵做了宿主，他欲杀夏葵而夺珠，却被夏葵做的红烧肉诱惑。而此时，白逍眼前的世界越来越让他惊奇，不仅红烧肉前所未见，还有电灯，微波炉，完全在其经验之外。原来白逍竟是一只唐朝的狐狸精，一觉醒来，人间已变成现代社会。这就是唐朝妖法遇到现代科技，纵使高冷范儿十足的白逍也露惊慌相。小葵看出他的疑惧和好奇，趁机骗得几日活命时间，以向单恋的学长表白。但令这对啼笑皆非冤家怎么也想不到的是，灵珠现世，竟悄然激活了冰冷都市丛林中无数匪夷所思的奇异妖灵，纷纷前来搅扰。为保灵珠不被抢走，白逍被迫当起小葵的贴身保镖。一个冷面唐朝狐少年，一个呆萌贪财少女，被迫生活在一起，经历这大都市中最诡异的阴谋以及最暖心的情感。

《Bravo My Life》讲述了电视台助理导演、准备七年还未能出道的演员，以及在电视台目中无人的绝对掌权者之间的故事。延政勋将在剧中饰演电视剧PD申东宇，郑柔美则将饰演一直未能升职的助理导演河度娜，显祐将在剧中饰演准备7年都未能出道的演员金范宇。

1997, 75 min., colour, BETACAM SP, Stereo 　　The Japan Foundation, North Foundation, Pandora Co., Ltd (Japan) 　　Special thanks to Hiroko Kodjima 　　scenario: A. Sokurov 　　camera: A. Fedorov 　　sound: S. Moshkov 　　editor: L. Semenova 　　“My journey to your sorrowful country cannot finish… even here in Russia. 　　I can't part with feelings which have captured me… as if my soul had been in search of Beauty and Kindness. If not — what for have I deserved this gift, this meeting… 　　I have arrived in the twilight. The noise of the wind and my tiredness didn't let me fall asleep. 　　I was lying on the floor, there was a small lamp at my head, the bedding had been thrown over the mat. 　　I don't know why, but I began to think about the war, and the scenes of unknown life appeared before me from the past… or, perhaps, from the future; Somebody’s children… somebody's mothers… 　　The summer was warm… 　　Then the morning came, windy, cold and sunny… I examined the house cautiously. It was empty… 　　Then, I remember, I turned back, having heard a creak. 　　It seemed she had not yet noticed me… I decided to come nearer. 　　I can remember well enough, how everything became interesting: walls, utensils, wind, light, sounds — all her life. 　　We agreed that she would let me stay near her all the time All the hours and minutes that I could spend in her old house. I sat near her with her permission. And it was really necessary: I could contem­plate her to my heart's content.” 　　Alexander Sokurov (from the author's text to the film) 　　A myth about lost harmony, which is always with us, though we often cannot feel it, is further developed in this film by Alexander Sokurov. The material used here is concrete and, at first sight, quite fit for TV. The whole work is unhurried and detailed report from an old solitary house, lost in the mountains, in the village of Aska, prefecture Nara, Japan, where an old woman, whose name is Umeno Matshueshi, lives alone. But filmmaker's creative task is quite opposed to the TV information stream. It is not only because this subject, this person couldn't be of any interest for any TV crew in any country (and least of all, perhaps, in modern Japan). 　　Sokurov's camera doesn't watch this character, doesn’t ask any questions, doesn’t surprise her, but extracts uninterrupted poetical image out of the trivial details of this physical reality, out of this extinct life and daily routine. The image is epic and lyrical at the same time. Refined simplicity of Japanese landscape, interior, a series of portraits are not a representation of “couleur local,” but only the sign of ideal technique of the ideal description, allowing to enter this life. The woman, who remains silent throughout the whole film, cooking and eating, kindling the fire and sewing, giving alms and combing her hair before us, recites in the final poem as a prayer: artless and sorrowful tanku about loneliness, about the constancy of losses and gainings. Sokurov shoots this unexpected stroke in his personage's portrait as a lyrical coda of his work.