六年级的周格格要搬家了，因为父母决定让她去上市重点初中。她和她最好的朋友马万里——一个男孩，为了“永远不分开”，在毕业前夕使出一系列鬼点子来阻止格格父母搬家，但最终意识到没有什么能被改变，他们不得不说再见了。分别在即，而马万里想出了最后一个办法…… 　　 　　Gege, a sixth-grade girl, is moving away from the old neighborhood because her parents have decided to send her to one of the best middle schools of the city. She, with her best friend Wanli – a boy, in order to ‘be together forever’, comes up with many tricks to prevent her parents from moving, but finally realizes that nothing could be changed, they have to say goodbye. At last, however, Wanli comes up with an idea…

六年级的周格格要搬家了，因为父母决定让她去上市重点初中。她和她最好的朋友马万里——一个男孩，为了“永远不分开”，在毕业前夕使出一系列鬼点子来阻止格格父母搬家，但最终意识到没有什么能被改变，他们不得不说再见了。分别在即，而马万里想出了最后一个办法…… 　　 　　Gege, a sixth-grade girl, is moving away from the old neighborhood because her parents have decided to send her to one of the best middle schools of the city. She, with her best friend Wanli – a boy, in order to ‘be together forever’, comes up with many tricks to prevent her parents from moving, but finally realizes that nothing could be changed, they have to say goodbye. At last, however, Wanli comes up with an idea…

由湖北卫视精心打造、清大世纪独家冠名的棚内儿童益智类综艺节目《超级六年级》，将于2016年7月正式开播。节目里，由全国青少儿播音主持专业委员会选送的小选手将与大明星展开智慧较量。他们在守关环节中巩固知识体系、拓宽视野，于欢乐氛围里收获成长、结交好友，还能得到良好的锻炼。

由湖北卫视重磅打造、清大世纪独家冠名的棚内儿童益智类综艺节目《超级六年级》将于2016年7月正式播出。节目由全国青少儿播音主持专业委员会选送的小选手在节目中与大明星斗智斗勇，在守关中强化知识体系、拓展视野；在快乐中收获成长、广结朋友，同时还能获得很好的锻炼。

百无聊赖的法国滨海小镇，惊传离奇车祸断头案，悬案背后暗藏两大外星势力——邪恶0帝国与善良1帝国的角力。0帝国武士附身普通渔夫，与人类生下混种小王子，恶魔血脉开枝散叶，宇宙和平岌岌可危；1帝国公主为阻止0帝国耍阴招侵略地球，奉女王之命无差别血刃敌军臣民。在这个无人在意的世界角落，关乎人类未来的宇宙大战一触即发。

克里斯（利亚姆·海姆斯沃斯 Liam Hemsworth 饰）一直希望能够成为一名警察，却在连连遭遇失败后来到了帝国装甲卡车公司，成为了那里的保镖。没过多久，克里斯便发现，公司内的安保布置看似无坚不摧实际上漏洞百出，他将这个秘密告诉了好友艾迪（迈克尔·安格拉诺 Michael Angarano 饰），谁知道自己的无心之谈竟然惹出了之后的一连串大麻烦。 　　克里斯决定和艾迪联手，两人策划了一宗现金抢劫案，打算在得手之后远走高飞。谁知道这个看似一帆风顺的计划，却因为精明的警探詹姆斯（道恩·强森 Dwayne Johnson 饰）的介入而徒增了风险。与此同时，掌控该片区的黑帮老大亦对两人的计划产生了兴趣。

'Empire' was the trailer for the Viennale 2010 and screened in over one hundred cinemas in Austria and during the festival in Vienna.

'Empire' was the trailer for the Viennale 2010 and screened in over one hundred cinemas in Austria and during the festival in Vienna.

Short film Empire is based on a radio drama Sorry, Wrong Number by the American writer Lucille Fletcher. Actually, Sokurov draws on a single theme forming the background for the story of the thriller — the woman's illness… The heroine is bed–ridden and her only means of communication with the outside world is her telephone — until a killer interrupts the conversation… 　　Sokurov removes all the dialogues, leaving us alone with the heroine — “a living skeleton” among the refined, with a touch of Modern–style, furnishings — who is listening to a radio broadcasting of Traviata, with its pleas for mercy and love. An elegant coffin–home is the spatial centre and symbolization of the entire film. And inside the coffin we certainly see the actress — the famous Russian ballerina Alla Osipenko who plays not only the heroine but also her own self. 　　This metaphoric cinema–image bears an allusion to the great “handicapped” Sarah Bernhardt who was reported to sleep in a coffin, as well as to the entire complex of aesthetised Decadence, converting an apology of Death into a lifestyle. Here is the key to the code of the title. Empire is a style that attempted to reanimate the dead ancient harmony. The heroine of Sokurov's film communicates with her phone as the only partner, and sort of interferes with the beyond, attracting this air — intangible yet saturated with danger. It is from the radio air that she accumulates both pleasure and tranquillity — the aria of dying yet beloved Violetta, while the killer's silhouette materializes from the phone air. A chamber pot, overturned and spilt by the killer in haste, remains the only evidence of human activities in this boudoir of Death. Sokurov's metaphor, clad in naturalistic details, produces the effect of ironic disclosure: “a wet spot” is left after a symbol. 　　The film was shot as a study work of a VGIK student S.Sidorov. At that time Sokurov did not have a chance to launch a project of his own, therefore he used this possibility to work. Visual conception of this film anticipates a considerable number of Sokurov's future experiments: light that models the space, levelling of colours, correlation of contrasting textures.

Short film Empire is based on a radio drama Sorry, Wrong Number by the American writer Lucille Fletcher. Actually, Sokurov draws on a single theme forming the background for the story of the thriller — the woman's illness… The heroine is bed–ridden and her only means of communication with the outside world is her telephone — until a killer interrupts the conversation… 　　Sokurov removes all the dialogues, leaving us alone with the heroine — “a living skeleton” among the refined, with a touch of Modern–style, furnishings — who is listening to a radio broadcasting of Traviata, with its pleas for mercy and love. An elegant coffin–home is the spatial centre and symbolization of the entire film. And inside the coffin we certainly see the actress — the famous Russian ballerina Alla Osipenko who plays not only the heroine but also her own self. 　　This metaphoric cinema–image bears an allusion to the great “handicapped” Sarah Bernhardt who was reported to sleep in a coffin, as well as to the entire complex of aesthetised Decadence, converting an apology of Death into a lifestyle. Here is the key to the code of the title. Empire is a style that attempted to reanimate the dead ancient harmony. The heroine of Sokurov's film communicates with her phone as the only partner, and sort of interferes with the beyond, attracting this air — intangible yet saturated with danger. It is from the radio air that she accumulates both pleasure and tranquillity — the aria of dying yet beloved Violetta, while the killer's silhouette materializes from the phone air. A chamber pot, overturned and spilt by the killer in haste, remains the only evidence of human activities in this boudoir of Death. Sokurov's metaphor, clad in naturalistic details, produces the effect of ironic disclosure: “a wet spot” is left after a symbol. 　　The film was shot as a study work of a VGIK student S.Sidorov. At that time Sokurov did not have a chance to launch a project of his own, therefore he used this possibility to work. Visual conception of this film anticipates a considerable number of Sokurov's future experiments: light that models the space, levelling of colours, correlation of contrasting textures.