在亚美尼亚一个与世隔绝的小村庄，鳏夫Hamo带着少的可怜的退休金和3个幼子每日赶往妻子的墓地。在那里他遇到了可爱的尼娜，她也在悼念亡夫。两人同样的贫穷，她在当地一家快要倒闭的酒吧工作，他被迫开始变卖微薄的财产。一切看起来都没有希望，这时Hamo向尼娜求婚，这意外的结合却给他们带来了转机。

在亚美尼亚一个与世隔绝的小村庄，鳏夫Hamo带着少的可怜的退休金和3个幼子每日赶往妻子的墓地。在那里他遇到了可爱的尼娜，她也在悼念亡夫。两人同样的贫穷，她在当地一家快要倒闭的酒吧工作，他被迫开始变卖微薄的财产。一切看起来都没有希望，这时Hamo向尼娜求婚，这意外的结合却给他们带来了转机。

A renowned actor named Otto is the epitome of the problematic but beloved ladies man. Even when drunk he still knows more about filmmaking than does the amateur who is directing him in his latest movie. But what should the unreliable star do when a local actor joins the crew as his understudy? Comic situations arise not only because of the well-known environment, but also from an inclination to authentically capture the various relationships. These introduce a hint of harsh reality into the filmmakers’ glittering atmosphere. Otto portrays a highly distinctive character whose ambiguities attract attention, and whose obstreperousness isn’t merely a lot of hot air. And if at first his problematic behavior evokes antipathy, it isn’t difficult to find a way of approaching the character as the film progresses. The retro touch of the “film within a film” doesn’t overshadow the emphasis on the authentic tone of the situations, and it even lends vigor to a work whose melodramatic plane is noticeably deeper than its openly confrontational surface might make it seem.

A compilation of three videos recorded during a private, invitation-only gig at The FunHouse in Bisbee, Arizona (where Stanhope lives, the audience is comprised of his close friends and neighbors) in 2016. Previously available as clips on YouTube, Stanhope released the three, 20-minute clips himself direct to streaming services, including Vimeo and Amazon, in late 2017.

Germany in the not-too-distant future: The borders are closed, refugees are collected in camps and turned away or accepted. The mood is charged, a police detachment is responsible for keeping the crowd in check. Volt is one of the cops. He accidentally kills a French refugee. The violence spirals out of control. Volt starts up a relationship with the sister of the man he killed and winds up between the fronts.

《加康加年味》是浙江卫视、浙江视通文化传播有限公司联合出品的中国节令美食青春聚会真人秀。邀请《奔跑吧》、《天赐的声音》、《听说很好吃》、《中国好声音》的四组嘉宾创作节令团圆饭。在饭局游戏中，讲出彼此故事， 开启对新春的祝福。

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浙江卫视、浙江视通文化传播有限公司联合出品的中国节令美食青春聚会真人秀。以热播综艺安康庆团圆为主题，邀请《奔跑吧》、《天赐的声音》、《听说很好吃》、《中国好声音》的四组嘉宾创作节令团圆饭。在饭局游戏中，讲出彼此故事， 开启对新春的祝福。

浙江卫视、浙江视通文化传播有限公司联合出品的中国节令美食青春聚会真人秀。以热播综艺安康庆团圆为主题，邀请《奔跑吧》、《天赐的声音》、《听说很好吃》、《中国好声音》的四组嘉宾创作节令团圆饭。在饭局游戏中，讲出彼此故事， 开启对新春的祝福。

本片 荣获第四届深圳青年影像节纪录片类 最佳创意奖 ，香港中文大学、 第二届中国民族博物馆 永久收藏奖 。 　　有意想观看的，可联系版权方微信：1714371600 　　《加一》颠覆大众对留守儿童的固定思维，以独特的视角呈现最真实的留守儿童生活。 　　加一是一名留守儿童，父母常年在外打工，每次短暂的相聚都会牵动加一幼小 的心灵：长途 跋涉和爷爷去看望在外打工的父母，离别时躺在爸爸腿上静静落泪；春节过后妈妈提前出去打工，没有说再见是因为偷偷躲在被 窝里泣不成声。然而父母离开后生活依然要继续，忍受过难尝的别离滋味后，依然要忘掉烦恼，快乐地和同学玩耍，淘气地逗哭弟弟后又像大人一样哄着他。每天和弟弟徘徊在哭与笑之间，就这样在痛与乐中成长着。 　　留守儿童并不是“苦逼”的代名词，他们有他们的快乐，有他们的纯真，他们也确实要忍受不一样的孤独和无奈。大时代下的小人物，他们的生存状态是这个时代的特殊印迹。 　　The documentary, “JIAYI”, adopts a particular position from where it objectively and non-discriminatingly uncovers a real world of these left-behind kids in rural area in China, which overthrows the social stereotyping towards this special group existing in the remote and underdeveloped regions. 　　JiaYi, one of these unattended children, cherished every single reunion with her parents who work as migrant labors: she would travel thousands of miles with her grandfather to visit them; lying on her father’s leg and crying silently is her way of resisting saying goodbye; Tears flooded her eyes so violently that she didn't says any words when her mother had to leave earlier than planned to start working during the spring festival. However, life goes on no matter they are ready or not. She struggles to survive in the suffering of separation while at the mean time, she must learn to forget this painfulness and pretend to live like a normal kid who enjoys her time in school with peers. She, like a mature adult, can make her younger brother cry and then burst into laughs. Their life is filled with tears and laughter as they grow up happily and toughly. 　　“Sadness” is not supposed to be the first image of these unattended children. Even though they have to withstand the loneliness and desperation that are not normally experienced by their peers, they still have their share of happiness and innocence. They contribute to maybe a minor section of this era but their very existence still leaves marks on this thriving generation filled with variations.