《工业传奇》第一季《与德国智造同行》由中国机械工业信息研究院和德国弗戈工业传媒集团联合出品，该系列纪录片共五集，分别从“源发动力”、“品质致胜”、“创新机遇”、“磨砺成器”、“工业4.0”等五大板块，揭秘解读德国制造从落后到领先的崛起秘诀。

Perhaps the most enjoyable Oliveira film I've watched so far also proved to be the most frustrating experience (through no fault of the genial Portuguese director, whom I saw at the 2004 Venice Film Festival): unfortunately, the copy shown on late-night Italian TV was of an atrocious quality – with intermittent picture loss, rampant pixellation and considerable stretches where the dialogue was so low and muffled as to be barely audible (thankfully, the movie was presented in its original language accompanied by Italian subtitles), despite the volume of my TV being practically set at its maximum level! The irony is that this was scheduled again on the very same channel just the other week and, had I known of the poor state of my copy, I'd have tried to record it again…though, of course, I would've had no guarantee that they were able get hold of a superior print unless I went through the whole thing over again! 　　Anyway, having seen it, I'm now able to understand how Oliveira felt so completely at home making that Bunuelian tribute BELLE TOUJOURS (2006); in fact, this has much the same aura of elegant surrealism evident in the Spaniard's contemporaneous masterpiece THE DISCREET CHARM OF THE BOURGEOISIE (1972), while throughout Oliveira displays an admirably Ophulsian propensity for intricately mobile camera-work. The premise is original and quite delightful: a woman has lost a husband and remarried; she used to despise the former but, now, she realizes how much she actually loved him and, consequently, starts to neglect Spouse No. 2. Also, the first husband had an identical twin brother – so the wife feels closer to him than her current husband; the latter, humiliated by this awkward situation, commits suicide! Then, the sibling of the deceased confesses that he's actually the man she married and that it was his twin who had died (he just had the inexplicable urge to exchange identities with him!); so, the ex-bride and groom go to court to make their re-union legal…except that, by this time, it dawns on her that Husband No. 2 is the one she truly loves! 　　Amid all this, their close circle of friends try to make head or tails of the woman's whims and quirks; further complications, however, arise out of the subplot involving a man who makes passes at two of the women (one's married, the other happily cohabiting with her divorced ex!). The latter turns him down flat, while his affair with the former proves no less volatile than the leading lady's roundabout ways; the man, then, deliberately picks a fight with his lover's husband – who had earlier also exchanged harsh words with the heroine's cynical second husband. Though lacking perhaps the cheerful mockery that Bunuel managed to bring to this essentially staid environment (even if the Mendelssohn score still lends it undeniable irony), Oliveira's script is both intelligent and witty – to which his small cast of unknown actors (to me, at least) respond extremely well. These extend to even the minor roles of butler and maid: apart from indulging in their own romantic dalliances from time to time, the butler is visibly annoyed in having to attend to the mansion's gates after every vehicle that calls at the premises (in fact, apart from a brief flashback and the church finale, we're virtually stuck on the grounds of this single location). He also witnesses the second husband's fatal leap from the window as well as the wife's escape from the very same room (in which she's been locked by Spouse No. 1 after her passion for his replacement is re-ignited), while the maid has no qualms about spying on her masters' violent squabbles through a keyhole. 　　The ironic ending sees all concerned attending the wedding ceremony of a young bride and groom – with the central couple entering the church together but then taking separate seats away from one another because of lack of room; the emphasis placed on the newlyweds' promises of lifelong devotion obviously ring hollow at this point while, seemingly on a whim, Oliveira decides to end the film on an amusing shot of the church organist (sporting the somewhat clichéd unkempt appearance of the typical musicologist). It should be said here that PAST AND PRESENT is the first entry in the director's so-called "Tetralogy Of Frustrated Love" along with BENILDE OR THE VIRGIN MOTHER (1975), the five-hour TV serial DOOMED LOVE (1979) – both of which I own and intend to check out presently, as part of my ongoing retrospective honoring Oliveira's 100th birthday next month – and the as-yet unavailable FRANCISCA (1981).

浙江卫视2013年重磅推出商业领袖对话节目，由知名女主播吴小莉主持。每期邀请领袖级CEO，同时邀请来自企业界、文化界的专家学者以及名人组成的提问团队，与管理大师们面对面谈经论道，铸就一部由全球华人杰出CEO共同完成的管理圣经。

浙江卫视2013年重磅推出商业领袖对话节目，由知名女主播吴小莉主持。每期邀请领袖级CEO，同时邀请来自企业界、文化界的专家学者以及名人组成的提问团队，与管理大师们面对面谈经论道，铸就一部由全球华人杰出CEO共同完成的管理圣经。

艾瑞（Bank Prasongsup 饰）和同性男友交往多年，彼此之间感情十分稳定，深深相爱的两人希望能够共同养育爱情的结晶，他们想了一个注意，找来了一位女孩做他们的代孕妈妈。很快，一个可爱完美的宝宝降生了，取名为阿努（Freshy Tuangphop 饰）。艾瑞和男友沉浸在喜悦之中，然而好景不长，在一场意外中，男友不幸遇难，艾瑞在悲痛欲绝中独自承担起抚养孩子的重任。 　　随着时间的推移，阿努一天天长大，成为了一个英俊帅气的小伙子，然而，因为艾瑞特殊的身份，阿努常常遭到旁人的讥笑，这令父子两人之间的关系格外紧张。与此同时，艾瑞混乱的人际关系亦将整个家庭推向了濒临破碎的边缘。

艾瑞（Bank Prasongsup 饰）和同性男友交往多年，彼此之间感情十分稳定，深深相爱的两人希望能够共同养育爱情的结晶，他们想了一个注意，找来了一位女孩做他们的代孕妈妈。很快，一个可爱完美的宝宝降生了，取名为阿努（Freshy Tuangphop 饰）。艾瑞和男友沉浸在喜悦之中，然而好景不长，在一场意外中，男友不幸遇难，艾瑞在悲痛欲绝中独自承担起抚养孩子的重任。 　　随着时间的推移，阿努一天天长大，成为了一个英俊帅气的小伙子，然而，因为艾瑞特殊的身份，阿努常常遭到旁人的讥笑，这令父子两人之间的关系格外紧张。与此同时，艾瑞混乱的人际关系亦将整个家庭推向了濒临破碎的边缘。

本片以云南野生亚洲象“短鼻家族”北移南归的故事为主线，跨越云南省四个州市进行跟踪拍摄，生动还原亚洲象群北移和南返的曲折过程，立体展现人与野生动物和谐共处新图景，准确、生动介绍生物多样性保护的中国样本。

电影制片人金·沃尔哈特赢得了一个猎豹家族的信任。它们允许金·沃尔哈特留在它们身边，同它们一起狩猎、追逐－杀戮狮子、倚靠犀牛站立、每天直面死亡。

获得多项奖项肯定的「与恐龙同行」BBC制作群,再度推出「与古兽同行」,带领我们探索哺乳动物的兴起.结合最新的科学发现,先进的计算机绘图,以及精彩的自然历史故事,让观众重返消逝的世界,见识更多罕为人知的生物. 从地球最热最潮湿的气候到最冷的冰河期.见过鲸鱼的先驱(步行),躲避体型壮如犀牛,肉食的猪,还有和猫一样大小的马,却被和人类一般高的鸟吃掉！还收录野兽写实档案,照片图库,制作小组访谈,分镜表比较.还有两部五十分钟的短片,「野兽的胜利」讲述哺乳动物成功的故事.「内心的野兽」介绍人类最具特色的部分,是如何经由适应树林中的生活而兴起.

中年大叔乔恩的母亲突然逝世。为完成母亲遗愿，乔恩决定带着母亲的尸体与他的小狗共同踏上公路之旅，一路向南穿越冰岛，前往母亲的期许之地。这趟游走于回忆与幻想之间的旅程将出乎意料地改变乔恩的生活。这部奇妙的公路电影曾获第26届塔林黑夜国际电影节最佳影片荣誉，是一位冰岛电影学校校长辞职后拍摄的作品。开拍之前，这个故事已经在他的心中酝酿了三十年。