罗耶戴尔，藏语，即文艺女神“妙音仙女”。年轻牧人阿旺从小酷爱弹唱，立志要成为一名在藏区家喻户晓的弹唱歌手。在一次弹唱大赛挫败后邂逅酷似“罗耶…

山里长大的小神医沈星晚，因奶奶遗愿赴京都，与素未谋面的傅霆夜闪婚。傅霆夜五年前于云雾山被小仙女所救，念念不忘，面对上门的沈星晚，他本要解约却惊觉她就是恩人，随后，这位传闻不近女色的傅家掌门竟火速闪婚。

山里长大的小神医沈星晚，因奶奶遗愿赴京都，与素未谋面的傅霆夜闪婚。傅霆夜五年前于云雾山被小仙女所救，念念不忘，面对上门的沈星晚，他本要解约却惊觉她就是恩人，随后，这位传闻不近女色的傅家掌门竟火速闪婚。

丁墨的最新都市浪漫幻想小说《他与月光为邻》也要拍成电视剧了，继《他来了，请闭眼》《如果蜗牛有爱情》《美人为馅》后又一部作品即将影视化。40集爱情科幻剧《他与月光为邻》由阿里巴巴影业出品，出品人张强，编剧丁墨，导演拟请韩国知名导演赵秀沅（代表作《听见你的声音》《匹诺曹》《清潭洞爱丽丝》等），主演阵容拟请：霍建华、宋仲基、颖儿。“以星流之名，永以为诺”，应寒时、谢槿知、聂初鸿、庄冲等也要来了！

丁墨的最新都市浪漫幻想小说《他与月光为邻》也要拍成电视剧了，继《他来了，请闭眼》《如果蜗牛有爱情》《美人为馅》后又一部作品即将影视化。40集爱情科幻剧《他与月光为邻》由阿里巴巴影业出品，出品人张强，编剧丁墨，导演拟请韩国知名导演赵秀沅（代表作《听见你的声音》《匹诺曹》《清潭洞爱丽丝》等），主演阵容拟请：霍建华、宋仲基、颖儿。“以星流之名，永以为诺”，应寒时、谢槿知、聂初鸿、庄冲等也要来了！

蓝幼薇发现自己不仅被查出得了乳腺癌，丈夫还一直出轨她的闺蜜，发现真相的自己，反而被赶出家门，难道只能等死了吗？ 正当自己发着烧晕到在路边，一个自带柔光的男人将她抱了起来，体育老师向律一直暗恋着蓝幼薇，可是这个男人远没有外表上的那么简单。 蓝幼薇落魄前半生，向律偏执而上。“从今往后，我一直在你身边！”。

丽兹和班尼都出生在一个有色人种的家庭。在一次文学聚会上，丽兹遇到了年轻英俊的白人知识青年托尼，带着一种轻浮的热情，涉世未深的丽兹弃原来的追求者不顾，投入了托尼的怀抱，并与托尼发生了性关系。但是，当托尼发现丽兹并非白人，尤其当他看见丽兹黑皮肤、厚嘴唇的大哥，厌恶之感顿生。丽 兹痛苦了一段时间，终于，一个黑人青年的追求把她从深渊中拉了出来。丽兹的二哥班尼生性叛逆，总是与三两个朋友一起浪迹街头，虽然自己不是白的，但他有时也厌恶黑人的粗俗，对种族之间的问题，他似乎只是在街边边走边看，超脱，但不可避免的颓废。

丽兹和班尼都出生在一个有色人种的家庭。在一次文学聚会上，丽兹遇到了年轻英俊的白人知识青年托尼，带着一种轻浮的热情，涉世未深的丽兹弃原来的追求者不顾，投入了托尼的怀抱，并与托尼发生了性关系。但是，当托尼发现丽兹并非白人，尤其当他看见丽兹黑皮肤、厚嘴唇的大哥，厌恶之感顿生。丽 兹痛苦了一段时间，终于，一个黑人青年的追求把她从深渊中拉了出来。丽兹的二哥班尼生性叛逆，总是与三两个朋友一起浪迹街头，虽然自己不是白的，但他有时也厌恶黑人的粗俗，对种族之间的问题，他似乎只是在街边边走边看，超脱，但不可避免的颓废。

《影子》是50年代-60年代初波兰电影学院派的代表作，与Andrzej Munk的《倒霉》《铁轨上的男人》等片齐名。是卡瓦莱罗维奇最好的作品之一。获嘎纳金棕榈和英国学院奖最佳影片提名。 　　The first screenplay, based on one of his own stories, by noted writer Alexander Scibor-Rylski, SHADOW is a Rashomon-like investigation into the life of a man found dead after having been hurled from a train. As security agents, policemen and a medical examiner begin to piece together his identity, three accounts emerge: one set during the war, one in the immediate aftermath, and one in then contemporary Poland. In each, the murdered victim seems to have been a mysterious, ambiguous presence, of shifting loyalties and suspicious connections, who invariably set himself against the ruling powers of the time. Critics at the time attacked the film for its depiction of a world rife with secret agents and hidden enemies - a favorite Stalinist theme - yet the film seems rather to insist on how heroism or villany are so often matters of point of view and timing. 　　Polish filmmaker Jerzy Kawalerowicz was once considered one of his country's most talented post-WW II directors, noted for his powerful, detail-oriented imagery. Kawalerowicz was versatile and his subjects ranged from historical dramas to intense psychological studies. He made his directorial debut in 1951 after working as an assistant director. In 1955 Kawalerowicz was appointed head of the prestigious KADR production unit. He held the position again in 1972. In 1983, Kawalerowicz alienated himself from many of his peers by signing communist government-generated reports condemning all filmmakers aligned with the Solidarity Movement and promoting the destruction of production units run by long time associates Wajda and Zanussi. 　　Born in Gwozdziec, Poland (now Gvozdets, Ukraine), Jerzy Kawalerowicz was noted for his powerful, detail-oriented imagery and the depth of ideas in his films. After working as an assistant director, he made his directorial debut with the 1951 film The Village Mill (Gromada). He was a leading figure in the Polish Film School, and his films Shadow (Cien, 1956) and Night Train (Pociag, 1959) constitute some of that movement's best work. 　　Other noted works by Kawalerowicz include Mother Joan of the Angels (Matka Joanna od aniolów, 1961) and a 1966 adaptation of Boleslaw Prus' historical novel, Pharaoh, which was nominated for the Academy Award for Best Foreign Language Film.

《影子》是50年代-60年代初波兰电影学院派的代表作，与Andrzej Munk的《倒霉》《铁轨上的男人》等片齐名。是卡瓦莱罗维奇最好的作品之一。获嘎纳金棕榈和英国学院奖最佳影片提名。 　　The first screenplay, based on one of his own stories, by noted writer Alexander Scibor-Rylski, SHADOW is a Rashomon-like investigation into the life of a man found dead after having been hurled from a train. As security agents, policemen and a medical examiner begin to piece together his identity, three accounts emerge: one set during the war, one in the immediate aftermath, and one in then contemporary Poland. In each, the murdered victim seems to have been a mysterious, ambiguous presence, of shifting loyalties and suspicious connections, who invariably set himself against the ruling powers of the time. Critics at the time attacked the film for its depiction of a world rife with secret agents and hidden enemies - a favorite Stalinist theme - yet the film seems rather to insist on how heroism or villany are so often matters of point of view and timing. 　　Polish filmmaker Jerzy Kawalerowicz was once considered one of his country's most talented post-WW II directors, noted for his powerful, detail-oriented imagery. Kawalerowicz was versatile and his subjects ranged from historical dramas to intense psychological studies. He made his directorial debut in 1951 after working as an assistant director. In 1955 Kawalerowicz was appointed head of the prestigious KADR production unit. He held the position again in 1972. In 1983, Kawalerowicz alienated himself from many of his peers by signing communist government-generated reports condemning all filmmakers aligned with the Solidarity Movement and promoting the destruction of production units run by long time associates Wajda and Zanussi. 　　Born in Gwozdziec, Poland (now Gvozdets, Ukraine), Jerzy Kawalerowicz was noted for his powerful, detail-oriented imagery and the depth of ideas in his films. After working as an assistant director, he made his directorial debut with the 1951 film The Village Mill (Gromada). He was a leading figure in the Polish Film School, and his films Shadow (Cien, 1956) and Night Train (Pociag, 1959) constitute some of that movement's best work. 　　Other noted works by Kawalerowicz include Mother Joan of the Angels (Matka Joanna od aniolów, 1961) and a 1966 adaptation of Boleslaw Prus' historical novel, Pharaoh, which was nominated for the Academy Award for Best Foreign Language Film.