State of Dogs (Mongolian: Нохойн орон, alternately Nokhoin Oron) is a Mongolian movie that was released in 1998, directed and written by Peter Brosens and Dorjkhandyn Turmunkh. The film was shown at the 1998 Venice Film Festival,[1] the 1998 Toronto Film Festival[1], the 1999 Yamagata International Documentary Film Festival,[2] and won the the Grand Prix at the 1998 Visions du Réel film festival in Nyon, Switzerland.[1] 　　Set in Mongolia's capital city, Ulan Bator, the film combines documentary elements with fictional elements[3] in the fragmented, impressionistic and dreamlike story of Baasar, a dog who dies early in the movie — shot by a hunter employed by the city to reduce it's dog population, which has more than one dog for each four humans in its population of 800,000.[4] 　　According to Mongolian legend, a dog (who is prepared) may be reincarnated in its next life as a human, after roaming free for as long as he wants.[5] Baasar roams the memory of his life, uninterested in advancing to a human life.[2] 　　The film includes brief interludes with a solar eclipse, a segment in which a young man recites poems directly to the camera, and a depiction of modern Mongolian life with undercurrents of mysticism and myth.[4] 　　Garth Stein, American author and film producer, was inspired by State of Dogs, to write his best selling novel The Art of Racing in the Rain.[6]

Wickedly funny and observant slice of life NYC gangster pic, that's decidedly Jewish, quirky and anarchistic. The surprise cult comedy/drama hit was shot in 1969 and put on the shelf when no distributor was willing to take a chance on it when test audiences didn't laugh, but it was released in 1989 to play in the NYC Film Festival. Rave reviews gave this pic a new lease on life, and it got its long awaited theatrical release--only twenty years too late to help the splendid aging unknown cast advance their careers. 　　In this low-budget black and white shot indie, writer-director Michael Roemer ("Nothing But A Man") makes good use of location shots in the Big Apple, exhibits a winsome dead-on droll humor and gets a super performance from Max Priest--the washed-up small-time mob leader with a deadpan expression (perhaps equaling Buster Keaton's) that seemingly can absorb all kinds of bad news without letting on he's in pain. It's like a time capsule pic, as it takes us back to the 1960s when mafioso types were riding around the city in big gas-guzzling Cadillacs, stylish dames were sporting bee-hive hairstyles, Go-Go dancers were in vogue and there was liberal John Lindsay's racially changing NYC that altered forever the way urban America was to be from now on. 　　It's a scream as a cutting satire on middle-class Jewish aspirations, their showy bar mitzvah rituals and of the almost tragic downfall of a two-bit gangster who didn't have the heart for the rough business, just the will to lead a soft life. The cinéma-vérité pic looks authentic even if it's covering familiar territory, and has the balls to make such an unsympathetic low-life criminal as Harry as an almost sympathetic heroic one by the end of the day.

Wickedly funny and observant slice of life NYC gangster pic, that's decidedly Jewish, quirky and anarchistic. The surprise cult comedy/drama hit was shot in 1969 and put on the shelf when no distributor was willing to take a chance on it when test audiences didn't laugh, but it was released in 1989 to play in the NYC Film Festival. Rave reviews gave this pic a new lease on life, and it got its long awaited theatrical release--only twenty years too late to help the splendid aging unknown cast advance their careers. 　　In this low-budget black and white shot indie, writer-director Michael Roemer ("Nothing But A Man") makes good use of location shots in the Big Apple, exhibits a winsome dead-on droll humor and gets a super performance from Max Priest--the washed-up small-time mob leader with a deadpan expression (perhaps equaling Buster Keaton's) that seemingly can absorb all kinds of bad news without letting on he's in pain. It's like a time capsule pic, as it takes us back to the 1960s when mafioso types were riding around the city in big gas-guzzling Cadillacs, stylish dames were sporting bee-hive hairstyles, Go-Go dancers were in vogue and there was liberal John Lindsay's racially changing NYC that altered forever the way urban America was to be from now on. 　　It's a scream as a cutting satire on middle-class Jewish aspirations, their showy bar mitzvah rituals and of the almost tragic downfall of a two-bit gangster who didn't have the heart for the rough business, just the will to lead a soft life. The cinéma-vérité pic looks authentic even if it's covering familiar territory, and has the balls to make such an unsympathetic low-life criminal as Harry as an almost sympathetic heroic one by the end of the day.

在18世紀30年代，約瑟·斯密創立耶穌基督後期聖徒教會，抵定了多配偶婚姻為該宗教的核心教義，約瑟·斯密在衝突中死後，楊·百瀚成為第二屆的領袖，帶領眾多信徒遵守多配偶制的團體生活，後因廢除多配偶制，導致教會分裂，而其中最遵從多配偶制度的耶穌基督後期聖徒原教旨教會(FLDS)，在19世紀80年代，由「先知」魯倫·傑夫斯成為領袖。魯倫之子沃倫·史帝·傑夫斯從小耳濡目染，導致沃倫接手FLDS之後，比起父親更為變本加厲，所有的FLDS教徒過著非人般辛苦且備受蹂躪的日子，這讓許多心生不滿之人跳出來指控，最後導致沃倫成為美國FBI通緝犯之一，僅排名於賓拉登之下。

哈里（克林特·伊斯特伍德 Clint Eastwood 饰）是美国旧金山的一名资深警察，警局总是把一些难以解决的案件抛给他，而他为了破案也不惜使用一些非法的手段，因此他得到了一个绰号——“肮脏的哈里”。 　　旧金山出现了一个无差别射杀魔，在第一个受害者遇难的同时，凶手留下了一封恐吓信，要求获得10万美元的现金，否则，每过2小时，他将射杀一个市民。随着受害者的增加，无能的政府决定向凶手妥协，但哈里不能接受这样的妥协，他擅自行动逮捕了凶手，却也导致了人质的死亡。令他意想不到的是，好不容易捉拿归案的凶手，竟然因为精神方面的疾病逃脱了法网，之后变本加厉劫持了一辆载满儿童的校车。这次，愤怒的哈里再也不能忍耐了，他展开了同凶手的周旋，并在最后时刻射出了那颗代表着正义的子弹。

哈里（克林特·伊斯特伍德 饰）是美国旧金山的一名资深警察，警局总是把一些难以解决的案件抛给他，而他为了破案也不惜使用一些非法的手段，因此他得到了一个绰号——“肮脏的哈里”。旧金山出现了一个无差别射杀魔，在第一个受害者遇难的同时，凶手留下了一封恐吓信，要求获得10万美元的现金，否则，每过2小时，他将射杀一个市民。随着受害者的增加，无能的政府决定向凶手妥协，但哈里不能接受这样的妥协，他擅自行动逮捕了凶手，却也导致了人质的死亡。令他意想不到的是，好不容易捉拿归案的凶手，竟然因为精神方面的疾病逃脱了法网，之后变本加厉劫持了一辆载满儿童的校车。这次，愤怒的哈里再也不能忍耐了。

哈里（杰米·谢尔丹 Jamey Sheridan 饰）是一名参加过越战的退伍老兵，如今，他成为了一名电工，和和气气，与人为善，大家都很喜欢他，但真正能够走进他心里的却寥寥无几。某日，哈里的老战友凯利（史蒂夫·布西密 Steve Buscemi 饰）致电哈里，他们已经快三十年没有见面了。 　　凯利身患重病即将不久于人世，他对于往事耿耿于怀充满愧疚，这关乎于他和哈里曾经犯下的一个错误。尽管哈里不想再和过去的事情有任何的瓜葛，但凯利的痛苦感染了他，他决定代替凯利去拜访他们从前背叛过的同伴大卫（坎贝尔·斯科特 Campbell Scott 饰），寻求他的宽恕，就这样，哈里踏上了赎罪的旅途。

2025年《民視第一發發發》節目，由時尚天后陳美鳳率領白冰冰、陽帆、曾國城、浩角翔起、侯怡君、白家綺、賴慧如、籃籃以及郭忠祐擔任主持人。節目於1月28日除夕夜晚6:30從《娛樂超skr》搶先看開始，7點正式播出直至隔日凌晨1點，以四大段單元形式呈現。此次活動帶隊的主持人陳美鳳，向各位觀眾的支持表示感謝，並將功勞歸於表演的主持人、特別來賓、鳳凰藝人群以及辛苦的幕後工作人員。

《民视第一发发发》（英语：FTV New Year's Eve），为民间全民电视公司每年制播的农历新年除夕特别节目，采取预录方式播出，是台湾少数依旧持续制作的大型特别节目。节目中集合民视众多艺人轮流表演、对抗游戏、贺岁短剧等。

「當我看到他被銬上手銬那一刻我是喜悅的」。一位大學生，因緣際會下得到父親留下的汽車，隨之而來的龐大債務，使他不得不放棄學業來還債。開著這台連結兩代的汽車，從前不願面對的家庭問題也開始在主角眼前悄然浮現。