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).

左天从自己的懵懂无知到最后的人生感悟历经了许多的人和事。左天他经历了人生的各个阶段，然后从每一个阶段慢慢的成长。到最后左天才终于明白人生的意义，人生不容错过。

We pick up the story on our main character's bus ride home. He sits alone, looking content, trying to pass the time. Then, something seems to get in his eye, because he rubs it and then closes the buses window. Something changes about him. He looks around and feels a strange disgust in the bus filled with quiet strangers also trying to get home and minding their own business. Pavel-Ivanovich is so disgusted that he gets off the bus several stops before his home and walks, arriving at dark. From here his story begins, and we go along for his sad ride. From that evening on he sees only sadness and wrong in everything. He can't respond to kindness, and scolds those closest to him. He offends everyone. At his work he tries to go against as many people as possible, and hurt ordinary citizens too. He also feels that everyone is against him. His condition seems to worsen. How will all this end. Sure this can't be the end for Pavel-Ivanovich, a good man somewhere deep inside. The brilliance of this film lies in the main character's deep state of mind. His suffering. The fact that he hurts everyone around him, feels horrible about it but still does it until he almost loses everything. If you like film's where you feel that you can relate or feel the character's emotions, you might like this film. An incredible pressure is built up throughout the film, and the last scene, for me at least, magically lifts it, if only for a couple of seconds. This is a strange film, and I don't say that a lot. It is very hard to describe, but the main elements that drive the feel of this film are the main character's state of mind and the music (more than half of the film has incredible original music playing in the background). Daneliya's films have incredible music like in Autumn Marathon, Kin-Dza-Dza, and Thirty-Three. Daneliyaa was into jazz and played drums in a band way back before he started making film so his films are very rich in music. Also this film is sad, but is also a comedy. All these elements mix to make an incredible movie

Ⅰ. "Sleepy" On the way home from work, the fierce anger of the road rage transformed into a huge monster, devouring the roads and buildings. Hurry home. Ⅱ. "Forgotten" Forget. Here. There. Everything. People, like ants, circulate endlessly.

《昔归轶事》以世界茶树起源地之一的临沧市临翔区昔归茶山为背景，讲述一位台湾青年远赴临沧茶山，寻找那个用文字叩响他心门的女孩。通过茶为媒，信传情，家为归的情感主线，展现了“茶暖人，家聚心”的温情叙事,传递“茶和天下，家国归心”的深意。

陆九思自幼随父母征战沙场，却遭奸人恶意陷害，致使父母惨烈战死，幸得堂姐陆星瑶拼死相救。多年后，司天监预言凤星降于将军府两位小姐之中，陆九思为查明真相、报仇雪恨，毅然改扮成堂姐身份重回将军府。她立誓为枉死的父母与堂姐复仇，男主洛君临也倾力相助，一同探寻当年阴谋。最终，陆九思重振凤家军，披甲上阵，奋勇杀敌。

赵雪花意外得知自己有一笔巨额遗产，她担心自己去世后儿女丈夫无法继承遗产，于是想与李明朗补办结婚证，却被李明朗拒绝侮辱，李明朗还不让她花钱做手术。赵雪花在看见家人的真面目后，终于彻底对全家失望，决定放弃家人。全家最终知道赵雪花有一笔巨额遗产，后悔不已。

下乡女知青秀芹重活一世，当年知青回城通知与丈夫何建国的 “死讯” 一同送到村里。上一世她被婆婆、村长联手道德绑架，放弃回城，养鱼伺候婆婆到老，才得知丈夫只是假死，早已和村长女儿进城安家。重生后秀芹表面顺从众人，主动去公社为何建国办理销户，彻底断他活人身份后路。村长与婆婆假意悲痛，编造何建国带头火化、深明大义的说辞，用全村舆论逼迫秀芹留下养老。秀芹假意应允守家养鱼、侍奉婆婆，配合操办盛大丧事，将何建国 “身亡” 的事实坐实。她隐忍演戏，顺着众人的虚伪布局反击，当年所有人联手算计她的苦楚，终将让欺瞒她的母子与村长自食恶果。

未曝光的16毫米胶片影像与迷人的叙事相结合，为我们呈现了今年波罗的海电影节（PÖFF）最具诗意的电影。一个记忆正在消退的男人，他的脑海中究竟藏着什么？这正是Pop的孙子试图探寻的问题。随着逐渐模糊的影像资料缓缓展开，一场极具吸引力的视觉探索呈现眼前，展现着Pop的回忆，同时搭建起一个充满情感且意义深远的相互……之旅的迷人框架。