《中山国》细致梳理了中山国从立国、崛起、繁盛到被灭的历史，对中山国文物与遗存进行全面的整理、展示，广泛吸收海内外中山国研究的学术成果，向世人讲述中华民族历史大融合中不可或缺的一页。

《中山国》细致梳理了中山国从立国、崛起、繁盛到被灭的历史，对中山国文物与遗存进行全面的整理、展示，广泛吸收海内外中山国研究的学术成果，向世人讲述中华民族历史大融合中不可或缺的一页。

铁老大（陈建斌 饰）几年前在外地打工回到家乡之后，就不愿再离开家乡了，他决心安于现状，在茫茫大山深处养家糊口。他与弟弟在乡村的垭口开着摩的，维持…

铁老大（陈建斌 饰）几年前在外地打工回到家乡之后，就不愿再离开家乡了，他决心安于现状，在茫茫大山深处养家糊口。他与弟弟在乡村的垭口开着摩的，维持基本的生计。一个午后，摩的司机们围聚于垭口等待乘客。铁老大没有想到这竟是他与兄弟的最后一次见面。一个乘坐弟弟摩托的长发青年（吴秀波 饰）在静谧的半道上突起歹意，持刀抢车，将弟弟杀害，然后驾车逃逸。 　　铁老大决定千里追凶，为弟弟报仇雪恨。他骑着摩托车从南跑到北，贵州、重庆、内蒙、山西；一路追踪，历经背叛、欺诈、世态险恶与自我情感的挣扎，最后在一家黑煤矿找到凶手，自己却也一同陷入绝境……

本片通过祁连山野生动物的故事，展示了祁连山完整的生物链，彰显出祁连山的中国生态屏障地位。片中通过黑颈鹤和斑头雁的领地争夺、求偶、孵化、小黑颈鹤和小斑头雁的生存故事，展示高原湿地这一候鸟的天堂，展现了纵纹腹小鸮和大鵟这两种留鸟的孵化和生存状况。

本片通过祁连山野生动物的故事，展示了祁连山完整的生物链，彰显出祁连山的中国生态屏障地位。片中通过黑颈鹤和斑头雁的领地争夺、求偶、孵化、小黑颈鹤和小斑头雁的生存故事，展示高原湿地这一候鸟的天堂，展现了纵纹腹小鸮和大鵟这两种留鸟的孵化和生存状况。

2008年8月2日，17名登山者从巴基斯坦一侧登顶返回时遭遇雪崩，当中11人遇难，成为乔戈里峰登山史上死亡人数最多的灾难。使其成为登山史上最悲壮的一天。

2008年8月2日，17名登山者从巴基斯坦一侧登顶返回时遭遇雪崩，当中11人遇难，成为乔戈里峰登山史上死亡人数最多的灾难。使其成为登山史上最悲壮的一天。

Yohei Yamakado has not returned to his native Japan for eight years; his friend Olivier Cheval therefore embarks on an exploration of the land of the Rising Sun, evoking his friend’s memories, almost in a re-enactement of his friend’s life by proxy. Cheval travels, moving from Tokyo to Kyoto, from Kobe to Lake Towada, and in the meantime he juggles, in an equally exploratory way, between childhood and memory, between exile and friendship, making the invisible tangible. 　　Olivier Cheval’s introspective journey rule out any touristic filter and, on the contrary, from every image and landscape tries to materialize what is not physically there. A sort of sequel to a previous correspondence between the director and Yamakado (Lettres sur la peste, La Découverte/lundi matin, 2022), it is at the same time a whispered reflection on the standardization of urbanism and architecture, which uses that border between estrangement and recognizability to take on the fascinating features of a ghost-movie.

Yohei Yamakado has not returned to his native Japan for eight years; his friend Olivier Cheval therefore embarks on an exploration of the land of the Rising Sun, evoking his friend’s memories, almost in a re-enactement of his friend’s life by proxy. Cheval travels, moving from Tokyo to Kyoto, from Kobe to Lake Towada, and in the meantime he juggles, in an equally exploratory way, between childhood and memory, between exile and friendship, making the invisible tangible. 　　Olivier Cheval’s introspective journey rule out any touristic filter and, on the contrary, from every image and landscape tries to materialize what is not physically there. A sort of sequel to a previous correspondence between the director and Yamakado (Lettres sur la peste, La Découverte/lundi matin, 2022), it is at the same time a whispered reflection on the standardization of urbanism and architecture, which uses that border between estrangement and recognizability to take on the fascinating features of a ghost-movie.