从小在鹿儿岛的大自然中长大的男孩岳，升上高中后开始追求棒球梦想，然而竞争的压力、身边的霸凌、朋友的逝去，让他不断意识到生活的荒诞和不公……本片导演伊地知拓郎毕业于北京电影学院2017级导演系，是该系第一个日本学生。他以自己和朋友少年时期的真实经历为基础，用半纪实的手法记录下回忆中青春的吉光片羽与残酷瞬间。影片通过青春期孩子的视角深刻探讨了教育压力、社会竞争与评价主义对心理健康的影响，呼吁重新审视价值观和教育模式，入选日本文部科学省选定映画，将有机会成为教材走进校园。

If something characterizes Reichardt's work, it's that it always finds its characters downhill. And if that vivid decadence, that pain of not being anymore that transmit the characters in River of Glass, Old Joy and Wendy and Lucy, her three features, already causes anguish, those great moments of pain captured by the director intensify, through condensation, in each of her short subjects. Death is lord and master in the shorts Then, a Year and Travis, and also in Ode, the only mid-length film by this daughter of cops (him, scientific; her, narcotics). Then, a Year combines, without attempting any kind of narrative, Reichardt in her adoptive Portland with a pastiche that mixes statements from different shows about crimes of passion. This idea is resumed in Travis, video-installation where that focus that never reaches the image, sensed as violent close-ups of a fixed photograph, is centered in politics: Reichardt infinitely loops fragments from the interview with a mother that has lost her son Travis in Iraq, and who, in every little confession, leaves a piece of her heart. Lastly, in Ode, the director shows the courage for loving of two young Baptists, capturing, for three quarters of an hour, the story of a love that could never be between Billy Joe and Bobbie Lee, and its tragic outcome. And the inevitable one, because there's no place for the humbled joy of those poor old hearts in the oppressive world of the religious deep America. in Ode, the director shows the courage for loving of two young Baptists, capturing, for three quarters of an hour, the story of a love that could never be between Billy Joe and Bobbie Lee, and its tragic outcome. And the inevitable one, because there's no place for the humbled joy of those poor old hearts in the oppressive world of the religious deep America. in Ode, the director shows the courage for loving of two young Baptists, capturing, for three quarters of an hour, the story of a love that could never be between Billy Joe and Bobbie Lee, and its tragic outcome. And the inevitable one, because there's no place for the humbled joy of those poor old hearts in the oppressive world of the religious deep America.

If something characterizes Reichardt's work, it's that it always finds its characters downhill. And if that vivid decadence, that pain of not being anymore that transmit the characters in River of Glass, Old Joy and Wendy and Lucy, her three features, already causes anguish, those great moments of pain captured by the director intensify, through condensation, in each of her short subjects. Death is lord and master in the shorts Then, a Year and Travis, and also in Ode, the only mid-length film by this daughter of cops (him, scientific; her, narcotics). Then, a Year combines, without attempting any kind of narrative, Reichardt in her adoptive Portland with a pastiche that mixes statements from different shows about crimes of passion. This idea is resumed in Travis, video-installation where that focus that never reaches the image, sensed as violent close-ups of a fixed photograph, is centered in politics: Reichardt infinitely loops fragments from the interview with a mother that has lost her son Travis in Iraq, and who, in every little confession, leaves a piece of her heart. Lastly, in Ode, the director shows the courage for loving of two young Baptists, capturing, for three quarters of an hour, the story of a love that could never be between Billy Joe and Bobbie Lee, and its tragic outcome. And the inevitable one, because there's no place for the humbled joy of those poor old hearts in the oppressive world of the religious deep America. in Ode, the director shows the courage for loving of two young Baptists, capturing, for three quarters of an hour, the story of a love that could never be between Billy Joe and Bobbie Lee, and its tragic outcome. And the inevitable one, because there's no place for the humbled joy of those poor old hearts in the oppressive world of the religious deep America. in Ode, the director shows the courage for loving of two young Baptists, capturing, for three quarters of an hour, the story of a love that could never be between Billy Joe and Bobbie Lee, and its tragic outcome. And the inevitable one, because there's no place for the humbled joy of those poor old hearts in the oppressive world of the religious deep America.

In the first programme, Derren sets up a fake pharmaceutical company which claims to have developed a drug named 'Rumyodin', with the ability to inhibit fear. In the second, Derren looks at the psychology of religious belief.

In the first programme, Derren sets up a fake pharmaceutical company which claims to have developed a drug named 'Rumyodin', with the ability to inhibit fear. In the second, Derren looks at the psychology of religious belief.

苏绣自幼走失，19岁回归苏家却遭养女苏珍珍排挤陷害，被父亲打断手筋后带着儿子果果流落乡下。阴差阳错下，苏绣偶遇隐居乡村的盲人蜀绣大师陆英红和她的儿子、同时也是顶级投资人的陆骁。苏绣请求拜陆英红为师，她的真挚善良陆家母子看在眼里，陆英红撮合苏绣和陆骁闪婚。拜师学艺期间，贪婪的苏珍珍和裴业为夺取国手作品献给投资人屡次刁难，在拜师礼上逼迫苏绣比试，苏绣忍痛完成双面异色绣取胜。这时亲子鉴定结果到来，果果身世揭晓，陆骁顶级投资人的身份也随之曝光。最终苏绣与原生家庭决裂，与陆骁一家团圆，既传承蜀绣技艺，也收获了真挚亲情与爱情。

去摇滚吧，再见比利家，见见那些好姑娘……都市牛仔女郎！在比利的大城市舞厅闪闪发光、叮当作响的喧闹声中，这些热心的甜心们摆出了他们所有的牌！