Luis Barragán, Mexico’s greatest architect, won the Pritzker Prize in 1980, and his self-designed home was declared a UNESCO World Heritage Site in 2004. After his death, in 1988, Barragán’s treasure trove of an archive was purchased by the founder of Swiss furniture company Vitra as an engagement present for his soon-to-be wife, Federica Zanco, and the couple promptly forbade anyone from seeing it. Conceptual artist Jill Magid, needing access for a project, wooed the imperious Zanco for years to no avail. And then, with the full support of Barragán’s heirs and the government of his native Guadalajara, she comes up with an ingenious and controversial proposal that involves digging up the architect’s corpse… To say any more about what Magid did in her battle to gain access (the episode was chronicled in two New Yorker pieces a couple of years ago) would spoil things for the uninitiated. Suffice it to say that her proposal is both shocking and extraordinary—and the film Magid has made of her journey raises myriad questions about artistic legacies and posthumous rights. 　　"Should anyone have the right to control an artist’s legacy? It is the central question [of this film,] in which personal frustration inspires a thoughtful, elegantly hypnotic exploration of ownership, access and moral responsibility. Magid’s inspired response to a complex situation makes for an intriguing and approachable film… [It also makes for] a multilayered and thought-provoking work of art."—Allan Hunter, Screen

Luis Barragán, Mexico’s greatest architect, won the Pritzker Prize in 1980, and his self-designed home was declared a UNESCO World Heritage Site in 2004. After his death, in 1988, Barragán’s treasure trove of an archive was purchased by the founder of Swiss furniture company Vitra as an engagement present for his soon-to-be wife, Federica Zanco, and the couple promptly forbade anyone from seeing it. Conceptual artist Jill Magid, needing access for a project, wooed the imperious Zanco for years to no avail. And then, with the full support of Barragán’s heirs and the government of his native Guadalajara, she comes up with an ingenious and controversial proposal that involves digging up the architect’s corpse… To say any more about what Magid did in her battle to gain access (the episode was chronicled in two New Yorker pieces a couple of years ago) would spoil things for the uninitiated. Suffice it to say that her proposal is both shocking and extraordinary—and the film Magid has made of her journey raises myriad questions about artistic legacies and posthumous rights. 　　"Should anyone have the right to control an artist’s legacy? It is the central question [of this film,] in which personal frustration inspires a thoughtful, elegantly hypnotic exploration of ownership, access and moral responsibility. Magid’s inspired response to a complex situation makes for an intriguing and approachable film… [It also makes for] a multilayered and thought-provoking work of art."—Allan Hunter, Screen

The film's plot centered on "the illegal trade in blood donations against the backdrop poverty and life in shanty-towns". A young man, Ali (Saeed Kangarani), takes his sick father (Esmail Mohammadi) to a hospital in Tehran. When his father is unable to be admitted, they wait outside the hospital and meet Sameri (Ezzatollah Entezami). Dr. Sameri offers them enough money for Ali's father's treatment if they assist him with some work. They meet him the next morning at a crossroads and get in a truck with some other people, unaware of what they will be doing or where they will be going. They arrive at a laboratory, where Ali's father is asked to give blood. He refuses, but Ali agrees to have his blood taken, and for that he is given 20 tomans. Sameri deals in blood - He buys the blood cheaply off of the poor and addicted, and sells it on to the hospital. 　　During Ali's dealings with the hospital, he meets Esmail (Ali Nassirian) and a young nurse, Zahra (Fourouzan). Ali begins working under Sameri, collecting donors for blood. Ali's father's health gradually worsens, until one day he dies. Ali dives deeper and deeper into blood dealing, and his new life begins.

The film's plot centered on "the illegal trade in blood donations against the backdrop poverty and life in shanty-towns". A young man, Ali (Saeed Kangarani), takes his sick father (Esmail Mohammadi) to a hospital in Tehran. When his father is unable to be admitted, they wait outside the hospital and meet Sameri (Ezzatollah Entezami). Dr. Sameri offers them enough money for Ali's father's treatment if they assist him with some work. They meet him the next morning at a crossroads and get in a truck with some other people, unaware of what they will be doing or where they will be going. They arrive at a laboratory, where Ali's father is asked to give blood. He refuses, but Ali agrees to have his blood taken, and for that he is given 20 tomans. Sameri deals in blood - He buys the blood cheaply off of the poor and addicted, and sells it on to the hospital. 　　During Ali's dealings with the hospital, he meets Esmail (Ali Nassirian) and a young nurse, Zahra (Fourouzan). Ali begins working under Sameri, collecting donors for blood. Ali's father's health gradually worsens, until one day he dies. Ali dives deeper and deeper into blood dealing, and his new life begins.

高澄高岭（坂本真绫 配音）的母亲答应她，如果他能够在接下来的模拟考里获得年级前100名的名次，就给她买一辆自行车。遗憾的是，成绩公布后高岭只考了112名，但是由于实在是太想要自行车了，高岭偷偷的扔掉了试卷，向妈妈撒了谎。虽然得到了梦寐以求的自行车，但高岭却没有想象中的那么开心，更糟糕的是，刚拿到自行车没多久，高岭就把车给弄坏了，这让原本等着接收哥哥的二手自行车的妹妹十分愤怒，她向妈妈揭穿了哥哥的谎言。 　　晚上，高岭推着破破烂烂的单车来到神社，发现了一个神秘的小店，店主告诉高岭，自己有100名以内的考试试卷，要高岭拿妹妹来交换，高岭同意了。

高澄高岭（坂本真绫 配音）的母亲答应她，如果他能够在接下来的模拟考里获得年级前100名的名次，就给她买一辆自行车。遗憾的是，成绩公布后高岭只考了112名，但是由于实在是太想要自行车了，高岭偷偷的扔掉了试卷，向妈妈撒了谎。虽然得到了梦寐以求的自行车，但高岭却没有想象中的那么开心，更糟糕的是，刚拿到自行车没多久，高岭就把车给弄坏了，这让原本等着接收哥哥的二手自行车的妹妹十分愤怒，她向妈妈揭穿了哥哥的谎言。 　　晚上，高岭推着破破烂烂的单车来到神社，发现了一个神秘的小店，店主告诉高岭，自己有100名以内的考试试卷，要高岭拿妹妹来交换，高岭同意了。

且看世界頂尖騎士如何穿越崎嶇地帶與壯觀地景，快來跟著他們飆速同行、橫越地球，隨著鏡頭向極限單車致上敬意。

且看世界頂尖騎士如何穿越崎嶇地帶與壯觀地景，快來跟著他們飆速同行、橫越地球，隨著鏡頭向極限單車致上敬意。

性格孤僻独自居住的老人，生活中唯一的依靠就是一辆破旧的自行车。有一天，传来了他在数年前离开家的儿子的死讯，据说他的儿子喝醉了，与街上的小混混发生争执，混乱中被捅死，后来由于找不到家人，尸体就被火化了。但是他儿子有个孩子，是个男孩，这孩子是他儿子唯一的骨肉，老人唯一的血脉。警察希望老人负责养育孩子，刚开始老人是拒绝的，但孩子说只要让他住在这里就好，后来老人也就同意了，毕竟是亲孙子，但爷孙俩的相遇会是好事吗？ 　　《旧单车》这部影片以亲情为主线，讲述了三辈人之间的父子情、爷孙情还有邻里之间的情谊。这部片子，看起来让人感觉很生活很真实，乱糟糟的房间里堆满各种各样的东西，嘈杂却热闹的集市上人们无所顾忌的调侃大笑，拥挤的餐馆里欢笑的人群，都会让你感觉这些普通平常的场景自己也经历过，你会有共鸣感。但是，最简单、最朴实的确实最贴近生活的！通过爷孙俩相处的点点滴滴，一点点被温暖，一步步打开心扉。丰岛因为爸爸去世，为了不去孤儿所，选择强行跟爷爷一起生活。两个人的生活从吵吵闹闹，祖孙俩一起慢慢地骑着老自行车，慢慢地消磨时光。直到最后爷爷因患病离开。在影片的最后，讲述了丰岛父亲的死因，是为了要去给生病的父亲（丰岛爷爷）取钱，被歹徒盯上，袭击致死。而丰岛选择与爷爷在一起却是为了完成父亲为尽的孝道。其实从丰岛一开始就知道了爷爷已经时日不多，父亲最大的牵挂就是爷爷。免费电影www.23zzw.com

性格孤僻独自居住的老人，生活中唯一的依靠就是一辆破旧的自行车。有一天，传来了他在数年前离开家的儿子的死讯，据说他的儿子喝醉了，与街上的小混混发生争执，混乱中被捅死，后来由于找不到家人，尸体就被火化了。但是他儿子有个孩子，是个男孩，这孩子是他儿子唯一的骨肉，老人唯一的血脉。警察希望老人负责养育孩子，刚开始老人是拒绝的，但孩子说只要让他住在这里就好，后来老人也就同意了，毕竟是亲孙子，但爷孙俩的相遇会是好事吗？