中国大戏院90周年访谈纪录片

卡维罗曾是个受人尊重的喜剧演员，现在变成了一个酒鬼。一日，他回到公寓时，偶然发现隔壁的女孩塞瑞拉躺在床上，企图开煤气自杀——原来，塞瑞拉是个芭蕾舞演员，因为患了腿疾而要告别舞蹈了。善良的卡维罗悉心照顾她，试图用自己的幽默细胞打消卡维罗的自杀念头......

When the terrible 1960 earthquake hit Agadir, the local cinema Salam was showing Ishiro Honda and Terry O. Morse’s Godzilla, King of Monsters! Weirdly enough, it was also one of the few buildings to survive the tragedy. Many years later, Gilles Aubry visits the place trying to understand how the memory of the seismic event has survived and is transmitted to the new generations. Shot inside the cinema and in the surroundings of Agadir, the film is driven by an abstract soundtrack recorded on location. Audio samplings and excerpts of Godzilla are interweaved with extracts of a local poem interpreted by Ali Faiq, a singer from Agadir. Traces of dinosaur footprints found on a nearby beach add further layers of complexity and compose a puzzling mosaic of heteroclite elements. Without trying to force the different pieces of his film in one single frame, the filmmaker challenges the viewer to create his own way through the labyrinth he so brilliantly conjures. His sensorial approach suggests that there might be more to a cinema that served an earthquake than meets the eye.

妙语连珠、俏皮逗人，傲慢的举止、离群的独步以及溢于言表的优越感是兔八哥鲜明的性格。特别是在反抗侵犯者时兔八哥表现得格外突出，人们喜爱兔巴哥与邪恶的约塞米蒂·萨姆斗争，在每个紧要关头兔八哥都以机智战胜了对手。

如果说《想当年》是费里尼对少年时代的回忆，《八部半》是对他中年创作危机的记载，《罗马》是对他所爱的城市的礼赞，那么本片就是他对Cinecitta电影厂的颂歌。 影片将回忆、嘲讽、自省、幻想等元素融合在一起，让我们见识了镜头前后的各种人物。影片高潮是《甜蜜的生活》的重映把片中主角重新聚集一堂，颇有一点大师主掌央视《同一首歌》的味道。 第40届戛纳电影节(1987)　 40周年奖　 费德里科·费里尼 第13届凯撒奖(1988)　 凯撒奖-最佳外国电影(提名)　 费德里科·费里尼

A dawn to dusk account of a young man in search of a job. This is his day of an interview in a swell Indo-British firm where, logically, he has to look his best. His only suit, a complete one, is in the laundry, and as luck would have it, all city laundries are on strike from that morning. The film is an intense search for a new suit to be borrowed from any of his friends, the loss of a good one procured that way, again a frantic search, and finally the interview-all erratic blending of fictional narrative, news reel coverage and near-cinema-verity type documentation. The film ends with a strange interview between the dejected young man and an unseen spectator who has watched him since the film started. And at last the film arrives at a moment of judgment -- that of the value-world.

什么是独立书店呢？它应不受除售书方式之外任何力量的干扰，独立于一切可想象的因素。“独立书店要做到经济独立、审美独立、立场独立。”其实，每个独立书店都有其独特的定义。踏入一家出色的独立书店，就如同在品读店主的灵魂。我们不仅看到书店，更能看到赋予其精神与灵魂的那个人。我们期望摄影机成为一条隐形的纽带，串联起书店与店主的共同气质，为中国的独立书店留存一份影像记录。

“什么叫做独立书店？一定是不受除了卖书方式以外的任何力量的干扰，要独立于能够想象到的任何因素。”"独立书店就要经济独立、审美独立、立场独立。" 每个独立书店都有自己的定义，每进入一家好的独立书店，就是在阅读一个店主的灵魂。 看到书店，更看到那个凝结着它们精神与灵魂的那 个人，我们希望摄影机是一个隐形的脐带，链接着书店与店主的共同气质，为中国的独立书店留下一份影像纪录。

《杨澜访谈录》开播自2001年,是国内最早推出的高端访谈电视节目。 秉承着“记录时代的精神印迹”的节目理念,主持人杨澜女士邀请政治、 经济、文化等各领域精英翘楚,坐而论道。节目力图穿越风云际会的有限时空,将嘉宾的人格力量和社会价值作为节目的终极呈现。到目前为止,《杨澜访谈录》已采访了全球800多位各界精英人物,北京卫视的首播时间为每周六下午13:05-13:45。

主要围绕“棱镜门”事件主角爱德华·斯诺登等话题展开。在长达四个小时的时间里，这位俄罗斯领导人将自己对于美国以及全球热门事件等发表言论。