病重的陆宁将玉佩交给女儿小花，嘱她投奔生父郑世贤，那个她已经等待七年的男人，终究要等不到了，七年前她和身为海城首富之子的郑世贤相爱并有了一个孩子，却被郑世贤的父亲以陆宁的身份配不上为由强行拆散，之后她思念成疾患上重病，还要时时刻刻提防想吃绝户的嫂子，保护自己的孩子，如今预感大限将至，却突然的听到了一个熟悉的敲门声，那个离开七年的男人，又回来了...

《波多黎各》是一部历史剧，以波多黎各革命者何塞·马尔多纳多·罗曼（人称“白鹰”）的生平为蓝本，故事背景设定在19世纪末的波多黎各岛。马尔多纳多·罗曼领导一群前罪犯反抗殖民统治，在波多黎各寻求国家身份认同的过程中为其伸张正义。

Porto Rico is a historical drama based on the life of Puerto Rican revolutionary, José Maldonado Román, known as Águila Blanca (White Eagle), set on the island in the late 19th century. Maldonado Román fought against colonialism by leading a gang of ex-convicts to vindicate Puerto Rico as it sought its identity as a country.

David Attenborough tells the revealing story of this Caribbean island's exotic but vulnerable wildlife. A team of conservation champions are making it their mission to save the most precious species. We see how Puerto Rican parrots, manatees and turtles are now making a comeback.

Ten young people from all over the world meet in Rome with Pope Francis with the aim of talking and conveying to him the main concerns of their generation.

女童羽蓝一夕穿越，竟成了为重病皇帝冲喜的小皇后。大婚当日，老皇帝咽气，她瞬间升级为全王朝最年轻的太后。面对虎视眈眈的权臣皇子、各怀心思的后宫妃嫔，这个顶着太后名号的小女娃开启了硬核宫斗模式——谁知她竟拥有读心术，所有阴谋诡计在她面前无所遁形！ 四年过去，小太后羽蓝已成了后宫定海神针。她整治嚣张妃嫔，救下被虐待的皇子公主，更在波谲云诡的宫廷斗争中守护着皇后与太子。当发现后宫接连出现携带系统的穿越女、重生妃嫔时，羽蓝挥舞着小短腿霸气宣告：管你来自现代还是重生，在哀家地盘上都得乖乖做人！

A famous docking: Algiers, the White City, in a radiant light. The picture darkens with a voice-over reading of the text of the surrender of the Dey of Algiers in 1830. About the Conquest confronts us with a page of the French national novel that was too hastily turned. Franssou Prenant audaciously gathers a community of complicit voices who read a succession of archives (reports, testimonies, memoirs, historical, geographical, and urbanistic considerations) in a matter-of- fact tone. Recounting the stages of France’s colonisation of Algeria between 1830 and 1848, they outline the ideological landscape of a staggering annihilation effort. The film could just as well have been entitled About Destruction. Franssou Prenant thus constructs a memorial with a technique common to History and cinema: montage. A montage of texts: the words of Victor Hugo, Ernest Renan, Tocqueville are interwoven with those of military men, senior officials, brigadiers, without any way of distinguishing the authors. Then, a montage of images through which yesterday’s acts of violence and dispossession echo in the present: in contrast to an account of murders, the film presents a desolate desert landscape or the frank and innocent smiles of teenagers. The promises of riches offered by colonized Algeria are accompanied by shots of an opulent, Haussmann-style Parisian city centre. We are plunged into a reflection on the nature of this extraordinary violence, through a pictorial meandering into contemporary Algeria, entwined with archival extracts heard in an interplay of convergence and divergence. The piling up of texts brings to light both the ethnocentric and racist imaginary and the cold logic of economic exploitation that dictated the colonization of Algeria and its irreversible consequences, from which Algerian society still suffers today. 　　源自：https://fidmarseille.org/en/film/de-la-conquete-about-the-conquest/

Michel Piccoli stars as an amorous dentist whose philandering seemingly knows no bounds. He is no sooner shooing such lovelies as Anna Karina and Elsa Martinelli out the back door than he is welcoming such "new blood" as Joanna Shimkus into his living room. When Shimkus demands a commitment, Piccoli runs home movies of his past girlfriends, insisting all the while that he has forgotten them and that Joanna is the only woman in his life. The very next day he's running his movies for still another woman, and the song continues. De L'Amour is based on an 1822 novel by Stendhal (who would have been visionary indeed if he'd included all those home movies!)