何以为家 　　何以为根 　　我们从何而来 　　终将回到何处 　　今天，我们手握通往未来的钥匙 　　正如过去，累积成了我们当下的样子 　　而承载着中华传统生活的老房子 　　能够很好地回答这一切 　　我们必须跑在坍塌与遗忘之前 　　去倾听一遍 　　中国老房子的心里话

何以为家，何以为根。我们从何而来，终将回到何处。今天，我们手握通往未来的钥匙。正如过去，累积成了我们当下的样子。而承载着中华传统生活的老房子，能够很好地回答这一切。我们必须跑在坍塌与遗忘之前，去倾听一遍中国老房子的心里话。《中国民居》是国内首档以中国传统民居生态为主题，呈现传统民居建筑和居住生活的人文记录片。本片联合国内多位顶级建筑师、设计师，深入到中国各处特色村落，以设计者的视觉结合中国设计知识，描绘中国传统民居建筑设计之美。同时，通过实地体验和互动交流，发掘一个个民居生活者的生活故事。

揭开尘封在浩瀚历史中的往事，秘话一段段跌宕起伏的传奇故事。

“弘皙逆案”爆发，京师四大家族赵、王、李、薛均受牵连。李家最先被抄家籍没，赵頫父子前去拜见弘皙，请求援助李家。弘皙将李家的罪产藏于自己府中，还觊觎四大家族的财产，想将其作为自己事业的经济支撑。赵家因此卷入皇室矛盾，如惊弓之鸟。赵王氏为保全赵家，棒打鸳鸯林颦儿（舒畅 饰），骗赵芹（迟帅 饰）与薛家联姻……

这是一幕发生在清朝的大家族悲剧，其历史背景是：清朝年间，雍正皇帝猝死，生前曾有圣谕，宝亲王弘历、理亲王弘皙均有可能入继大统。但遗诏不翼而飞，王公权臣斡旋之下，弘历胜出登基为乾隆帝，其子永琏为储君，依约定永琏如有不测，弘皙则依序可即位。不料三岁的永琏于乾隆3年病卒，乾隆岂容弘皙似有即位之可能，史称“弘皙逆案”。京师四大家族赵、王、李、薛，既是姻亲，又是政治同盟。李家首被抄家籍没，赵頫父子谒见弘皙，请援李家。弘皙将李家罪产藏匿于府中，并觊觎四大家族的财产，为自己事业经济支持所用。赵家被卷入皇室矛盾，如惊弓之鸟、战战兢兢。赵王氏为保赵家，棒打鸳鸯林颦儿，骗赵芹与薛家联姻。牵连之下，元妃（赵頫之女）被查出曾是弘皙府上人，赵府被抄没，赵府一门在封建皇权之下，满门悲凉，人亡财散 。

长期在外的军人赛回到家乡参加女儿的婚礼。婚礼上欢快的场面让他想起了当年的自己：那时他刚刚12岁，新娘图伊特18岁。图伊特是小妾的女儿，没有什么文化，赛对这个父母硬塞给他的妻子厌恶至极。尽管图伊特竭尽全力想要得到丈夫的爱，但这场带有包办性质的婚姻从一开始就注定是场失败。为了逃避图伊特，赛参了军，并且爱上了另一个女孩，最终选择了离开家乡。 多年以后，在女儿的婚礼上，再一次站在赛身旁的图伊特，泪如泉涌。

长期在外的军人赛回到家乡参加女儿的婚礼。婚礼上欢快的场面让他想起了当年的自己：那时他刚刚12岁，新娘图伊特18岁。图伊特是小妾的女儿，没有什么文化，赛对这个父母硬塞给他的妻子厌恶至极。尽管图伊特竭尽全力想要得到丈夫的爱，但这场带有包办性质的婚姻从一开始就注定是场失败。为了逃避图伊特，赛参了军，并且爱上了另一个女孩，最终选择了离开家乡。 多年以后，在女儿的婚礼上，再一次站在赛身旁的图伊特，泪如泉涌。

This experimental Filipino movie is far from a total success, but at least its in-your-face strangeness will make it somewhat interesting for those interested in seeing films of a different sort. The start is akin to a test of endurance for cinephiles, as the camera stands still showing nothing but a couple sleeping in the floor of a hut for the first 15 minutes (I'm not making this up, I looked at my watch). Eventually, the woman, who is unable to sleep, wakes up the man at her side, telling him to tell her a story so she can sleep. He complies with a rambling monologue about the suffering of the Filipino people. The film then moves on to the better second part, where fake footage in the style of silent movies is shown. This shows life in the Philippines supposedly during the end of the colonial period through a series of vignettes. These vignettes are mildly humorous (one shows a number of children looking at an eclipse with gaping mouths). Eventually, something akin to a story comes out of the movie, as revolutionaries meet to plan rebellion from Spanish rule. It's hard to compare this movie with other films, though its fetishism of silent movies recalls the work of Guy Maddin. I found it also reminiscent of a better movie, "Moeder Dao" in which real documentary footage of colonial life in Indonesia was shown.

This experimental Filipino movie is far from a total success, but at least its in-your-face strangeness will make it somewhat interesting for those interested in seeing films of a different sort. The start is akin to a test of endurance for cinephiles, as the camera stands still showing nothing but a couple sleeping in the floor of a hut for the first 15 minutes (I'm not making this up, I looked at my watch). Eventually, the woman, who is unable to sleep, wakes up the man at her side, telling him to tell her a story so she can sleep. He complies with a rambling monologue about the suffering of the Filipino people. The film then moves on to the better second part, where fake footage in the style of silent movies is shown. This shows life in the Philippines supposedly during the end of the colonial period through a series of vignettes. These vignettes are mildly humorous (one shows a number of children looking at an eclipse with gaping mouths). Eventually, something akin to a story comes out of the movie, as revolutionaries meet to plan rebellion from Spanish rule. It's hard to compare this movie with other films, though its fetishism of silent movies recalls the work of Guy Maddin. I found it also reminiscent of a better movie, "Moeder Dao" in which real documentary footage of colonial life in Indonesia was shown.