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).

暂无剧情简介

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.

中国武术以她的源远流长、博大精深，堪称是中国传统文化的精髓，被称之为国宝，让世人羡慕。渐起人气的《体育人间》栏目的编导们无不揣摩该题材纪录片的创作。2001年初，由赵邈、赵聪兄弟俩扛起摄像机，开始了以描述当今武术人生活状况的20集纪录片《今风细语江湖》的漫长创作旅程，500个日日夜夜的创作时间里，他们经历了早起4时在北疆拍日出，更有露宿古刹名寺的悬弘之夜。相继走遍了40多个省市地区，与50多个武术基层组织及习武者，对他们进行了采访、畅谈、跟拍、偷拍等制作方式和手段，面对浩如烟海的古今武术文化，在以武打为主题的电影电视剧狂轰烂炸电视屏幕的今天，针对无数个传说、戏说，该片编导们潜心研究、认真选择，最终选择了以真人实事为节目的主要脉路，以真实为原则，采用不停机、不剪切等方式全景纪录揭示武术搏击的真实过程，为电视机前的广大武术爱好者打造了一出真实生动的武术大片。 <BR><BR>　　《初篇》是本片的概述，为我们打开了20集武术纪录片的帷幕，我们从中可以俯视全片主要内容和立意，从更高更全面的角度为我们拉开了本片主要人物的一角，使我们能够在欣赏片子的同时，感受武术与中国传统文化的内在关系

中国武术以她的源远流长、博大精深，堪称是中国传统文化的精髓，被称之为国宝，让世人羡慕。渐起人气的《体育人间》栏目的编导们无不揣摩该题材纪录片的创作。2001年初，由赵邈、赵聪兄弟俩扛起摄像机，开始了以描述当今武术人生活状况的20集纪录片《今风细语江湖》的漫长创作旅程，500个日日夜夜的创作时间里，他们经历了早起4时在北疆拍日出，更有露宿古刹名寺的悬弘之夜。相继走遍了40多个省市地区，与50多个武术基层组织及习武者，对他们进行了采访、畅谈、跟拍、偷拍等制作方式和手段，面对浩如烟海的古今武术文化，在以武打为主题的电影电视剧狂轰烂炸电视屏幕的今天，针对无数个传说、戏说，该片编导们潜心研究、认真选择，最终选择了以真人实事为节目的主要脉路，以真实为原则，采用不停机、不剪切等方式全景纪录揭示武术搏击的真实过程，为电视机前的广大武术爱好者打造了一出真实生动的武术大片。 <BR><BR>　　《初篇》是本片的概述，为我们打开了20集武术纪录片的帷幕，我们从中可以俯视全片主要内容和立意，从更高更全面的角度为我们拉开了本片主要人物的一角，使我们能够在欣赏片子的同时，感受武术与中国传统文化的内在关系

昔日香港，長者知得最清楚！最佳嘅掌故王，當然係喺社區土生土長嘅老友記。睇住社區變化嘅資深居民帶領，向廿幾歲嘅年輕人，大談後生仔女意想不到嘅地區老故事。鰂魚涌山邊原來曾經有吊車上栢架山？灣仔大佛口以前係日本人社區？睇落保留傳統風味嘅大澳又有幾多嘢真係無變？唔同嘅老友記，有老街坊、有導賞團義工、有歷史發燒友，帶年輕主持行街 (或坐低慢慢傾)，同觀眾一齊話當年。

女孩窦窦自小与外婆住在一起，初潮期间她萌发了感情的嫩芽，也逐渐理解了外婆对她的念叨和关心。影片聚焦了初中女生的家庭生活，以质朴的笔调轻触了青少年性启蒙话题。扮演祖孙的两位演员贡献出真实自然的表演，片中隔代生活的各种细节颇能引发中国观众的共鸣。本片由两位导演联合执导，一位是南京艺术学院讲师杨骥，另一位是摄影师出身的蒋逸霄。

罗鹏在送外卖的过程中，遭遇了一系列不幸，包括撞破上司与未婚妻的私情，以及被上司羞辱并丢掉工作。然而，他的外卖箱却意外成为了连接现代与古代的时空之门。罗鹏通过外卖箱向古代输送现代物资，帮助了古代的女将军木兰解决了一系列危机，包括干旱和匈奴的入侵