一医生偶遇并救下一重病女患者。因无钱治病，患者丈夫将妻女抛弃，医生自费救助女患者，并助其女上大学，遭女友误会而分手。医生渐与患者相爱。婚后不久患者去世。继女发现自己爱上继父，和其表白，两人终走到一起。

一医生偶遇并救下一重病女患者。因无钱治病，患者丈夫将妻女抛弃，医生自费救助女患者，并助其女上大学，遭女友误会而分手。医生渐与患者相爱。婚后不久患者去世。继女发现自己爱上继父，和其表白，两人终走到一起。

卡米耶（泰蕾兹·利奥塔尔 Thérèse Liotard 饰）在美国著名大学苦读9年，回到法国之后却在求职的过程中屡屡碰壁，竟然连续9个月都找不到工作。拒绝卡米耶的公司口径非常的统一，那就是卡米耶是一个女人。 　　在好朋友的推荐下，卡米耶得到了法国最大的化学公司的面试机会，然而，尝尽了太多失败的她对自己感到非常的没有信心。某日，卡米耶偶然看到了一档换装节目，从中找到了灵感，她女扮男装，假装成一个男人参加了化学公司的面试，果不其然，卡米耶得到了这份工作！之后，卡米耶一边竭力的隐瞒自己的真实身份，一边在化学公司里开始施展拳脚，可是天下哪有不透风的墙呢，一次偶然中，卡米耶的身份被识穿了。

金猴奖专家评委说这个动画“看不懂”，动漫草根们却说“热泪盈眶”地把它看完了。在一群动画小人追求梦中情人的过程中，你笑了还是哭了？“谐脉阵”、“分钟数”，你还能找到多少隐藏在剧情中的现实彩蛋？专家看不懂的故事里，你看懂了多少？有没有自己在里面？我，“不知道”！ 这是一部幽默的音乐动画短片, 几个年轻人为了追求理想中的梦中情人, 经历一系列冒险和考验, 最终却获得了意想不到的效果. 但同时所有动画人看到这部片子都会会心一笑, 中国动画的发展史, 从早期的辉煌,后来的网络动画兴盛,动漫产业扶持到现状,每一个角色, 每一个场景道具, 都是中国动画原创力量中的一份子, 也许是作品, 也许是团队logo, 也许是一个知名的事件, 故事结尾预示着在三部委的引领下,中国原创动画从量产到创作精品的过程, 实现动画产业的井喷式发展.

金猴奖专家评委说这个动画“看不懂”，动漫草根们却说“热泪盈眶”地把它看完了。在一群动画小人追求梦中情人的过程中，你笑了还是哭了？“谐脉阵”、“分钟数”，你还能找到多少隐藏在剧情中的现实彩蛋？专家看不懂的故事里，你看懂了多少？有没有自己在里面？我，“不知道”！ 这是一部幽默的音乐动画短片, 几个年轻人为了追求理想中的梦中情人, 经历一系列冒险和考验, 最终却获得了意想不到的效果. 但同时所有动画人看到这部片子都会会心一笑, 中国动画的发展史, 从早期的辉煌,后来的网络动画兴盛,动漫产业扶持到现状,每一个角色, 每一个场景道具, 都是中国动画原创力量中的一份子, 也许是作品, 也许是团队logo, 也许是一个知名的事件, 故事结尾预示着在三部委的引领下,中国原创动画从量产到创作精品的过程, 实现动画产业的井喷式发展.

Director Krzysztof Kieslowski gives a voice to a Polish whistleblower who revealed crimes and corruption involving local Communist Party leaders. During the 1950s, he was appointed manager of a leather factory in Silesia. There he came across shady practices such as selling stolen goods and claiming expenses for fictitious business trips. But the moment he started to investigate, he was accused of theft and fired, and subsequently even threatened with violence. Unbeknownst to him, he had become Public Enemy No. 1. All of this culminated in a nervous breakdown and his being committed to a psychiatric institution. Now, the only thing that matters to him is a clear conscience. Kieslowski’s seldom-screened documentary is the testimony of a man who eventually turned against the system he had initially been an enthusiastic part of. Kieslowski had great doubts about releasing the film, as he was afraid of putting the whistleblower in even greater danger. To protect him, he included the sound of a typewriter at the moments when people are named.

Radu Jude has made a seven-minute self-portrait for the magazine report Kurzschluss (Short Circuit) by arte in cooperation with goEast Film Festival Wiesbaden (Germany). 　　Please also find an extensive Q&A with Radu Jude at the goEast website: filmfestival-goeast.de/en/goEast_online/online_in_discussion_with_radu_jude.php

The film offers insight into the filmmaker's stay in hospital, where she repeatedly experiences absurd, funny moments between pain, homesickness, and disgust with her own body. Meanwhile, she tries to come to terms with the hospital's own procedures and hierarchies. An emotional trip through the long underground corridors of the hospital with lots of small talk and tubes.

Radu Jude has made a seven-minute self-portrait for the magazine report Kurzschluss (Short Circuit) by arte in cooperation with goEast Film Festival Wiesbaden (Germany). 　　Please also find an extensive Q&A with Radu Jude at the goEast website: filmfestival-goeast.de/en/goEast_online/online_in_discussion_with_radu_jude.php

Director Krzysztof Kieslowski gives a voice to a Polish whistleblower who revealed crimes and corruption involving local Communist Party leaders. During the 1950s, he was appointed manager of a leather factory in Silesia. There he came across shady practices such as selling stolen goods and claiming expenses for fictitious business trips. But the moment he started to investigate, he was accused of theft and fired, and subsequently even threatened with violence. Unbeknownst to him, he had become Public Enemy No. 1. All of this culminated in a nervous breakdown and his being committed to a psychiatric institution. Now, the only thing that matters to him is a clear conscience. Kieslowski’s seldom-screened documentary is the testimony of a man who eventually turned against the system he had initially been an enthusiastic part of. Kieslowski had great doubts about releasing the film, as he was afraid of putting the whistleblower in even greater danger. To protect him, he included the sound of a typewriter at the moments when people are named.