民国，江南某镇制伞业的龙头“华盖坊”经历了家族变故、权利政治、商业鏖战的重大变革，由“华盖坊”的少奶奶杨冬雪一手撑起振兴伞坊的大业。“华盖坊”的大少爷沈敬天在与妻子杨冬雪道别后被人杀害，冬雪虽然得到公公沈希廉的信任却遭到二太太蝶舞的刁难，还被诬陷死里逃生，却收到沈家一纸休书。阴差阳错，冬雪被同为制伞业的江家看重踏入江家成为江家大少爷江亭恩的二太太，但是她与敬天的孩子留在了沈家。冬雪的善良渐渐温暖了江亭恩的心却遭到大太太漫云的嫉妒，此时，身为国民政府专员的梁迎出现了，运用各种手段迫害沈家，在危急关头冬雪挺身而出，江家也伸出了援手。一阵腥风血雨，梁迎的身世大白天下，冬雪撮合沈江两家联手，江南伞业重现昔日繁华景象。

民国，江南某镇制伞业的龙头“华盖坊”经历了家族变故、权利政治、商业鏖战的重大变革，由“华盖坊”的少奶奶杨冬雪一手撑起振兴伞坊的大业。“华盖坊”的大少爷沈敬天在与妻子杨冬雪道别后被人杀害，冬雪虽然得到公公沈希廉的信任却遭到二太太蝶舞的刁难，还被诬陷死里逃生，却收到沈家一纸休书。阴差阳错，冬雪被同为制伞业的江家看重踏入江家成为江家大少爷江亭恩的二太太，但是她与敬天的孩子留在了沈家。冬雪的善良渐渐温暖了江亭恩的心却遭到大太太漫云的嫉妒，此时，身为国民政府专员的梁迎出现了，运用各种手段迫害沈家，在危急关头冬雪挺身而出，江家也伸出了援手。一阵腥风血雨，梁迎的身世大白天下，冬雪撮合沈江两家联手，江南伞业重现昔日繁华景象。

讲述了少年犯边亮的故事。边亮刑满释放，不等养母接他就离开了少管所。三个月后，他又因盗窃被抓，在取保候审时逃脱，网上追捕两年后又被抓捕归案。法官刘兰馨审理边亮案件后，调查发现边亮一出生便被父母抛弃，之后辗转来到方林妹家里，因为特殊的成长背景，边亮养成叛逆、冷漠的性格缺陷。然而养母方林妹却对他付出了无尽的爱，在生活的艰辛与养母真挚的付出下，孤独少年边亮最终浪子回头。

If something characterizes Reichardt's work, it's that it always finds its characters downhill. And if that vivid decadence, that pain of not being anymore that transmit the characters in River of Glass, Old Joy and Wendy and Lucy, her three features, already causes anguish, those great moments of pain captured by the director intensify, through condensation, in each of her short subjects. Death is lord and master in the shorts Then, a Year and Travis, and also in Ode, the only mid-length film by this daughter of cops (him, scientific; her, narcotics). Then, a Year combines, without attempting any kind of narrative, Reichardt in her adoptive Portland with a pastiche that mixes statements from different shows about crimes of passion. This idea is resumed in Travis, video-installation where that focus that never reaches the image, sensed as violent close-ups of a fixed photograph, is centered in politics: Reichardt infinitely loops fragments from the interview with a mother that has lost her son Travis in Iraq, and who, in every little confession, leaves a piece of her heart. Lastly, in Ode, the director shows the courage for loving of two young Baptists, capturing, for three quarters of an hour, the story of a love that could never be between Billy Joe and Bobbie Lee, and its tragic outcome. And the inevitable one, because there's no place for the humbled joy of those poor old hearts in the oppressive world of the religious deep America. in Ode, the director shows the courage for loving of two young Baptists, capturing, for three quarters of an hour, the story of a love that could never be between Billy Joe and Bobbie Lee, and its tragic outcome. And the inevitable one, because there's no place for the humbled joy of those poor old hearts in the oppressive world of the religious deep America. in Ode, the director shows the courage for loving of two young Baptists, capturing, for three quarters of an hour, the story of a love that could never be between Billy Joe and Bobbie Lee, and its tragic outcome. And the inevitable one, because there's no place for the humbled joy of those poor old hearts in the oppressive world of the religious deep America.

If something characterizes Reichardt's work, it's that it always finds its characters downhill. And if that vivid decadence, that pain of not being anymore that transmit the characters in River of Glass, Old Joy and Wendy and Lucy, her three features, already causes anguish, those great moments of pain captured by the director intensify, through condensation, in each of her short subjects. Death is lord and master in the shorts Then, a Year and Travis, and also in Ode, the only mid-length film by this daughter of cops (him, scientific; her, narcotics). Then, a Year combines, without attempting any kind of narrative, Reichardt in her adoptive Portland with a pastiche that mixes statements from different shows about crimes of passion. This idea is resumed in Travis, video-installation where that focus that never reaches the image, sensed as violent close-ups of a fixed photograph, is centered in politics: Reichardt infinitely loops fragments from the interview with a mother that has lost her son Travis in Iraq, and who, in every little confession, leaves a piece of her heart. Lastly, in Ode, the director shows the courage for loving of two young Baptists, capturing, for three quarters of an hour, the story of a love that could never be between Billy Joe and Bobbie Lee, and its tragic outcome. And the inevitable one, because there's no place for the humbled joy of those poor old hearts in the oppressive world of the religious deep America. in Ode, the director shows the courage for loving of two young Baptists, capturing, for three quarters of an hour, the story of a love that could never be between Billy Joe and Bobbie Lee, and its tragic outcome. And the inevitable one, because there's no place for the humbled joy of those poor old hearts in the oppressive world of the religious deep America. in Ode, the director shows the courage for loving of two young Baptists, capturing, for three quarters of an hour, the story of a love that could never be between Billy Joe and Bobbie Lee, and its tragic outcome. And the inevitable one, because there's no place for the humbled joy of those poor old hearts in the oppressive world of the religious deep America.

这在1997年西班牙生产是第二个画面适应斯蒂芬vzinczey的小说“在赞美年长妇女” 。我没有看到第一个，但将难以顶端，这1 。的位置，这适应已变更为从二次世界大战匈牙利到西班牙，期间和之后，立即内战。年轻的男孩和主要特征，作为描绘的胡安迭戈巴托（仍然是西班牙最有前途的年轻演员） ，旨在找到他的母亲中，风暴，并发现异性对未来路向。成熟的妇女，法耶夫•达纳韦和乔安娜帕库拉包括，教导他关于爱情和激情，虽然他stumbles后，女孩自己的年龄（英格里德卢比奥星卡洛斯绍拉的的士）一次或两次。电影是娱乐性和价值，以及您的时间。太差，这是没有公布在美国或英国，但它现已在视频（无英文字幕） 。

这在1997年西班牙生产是第二个画面适应斯蒂芬vzinczey的小说“在赞美年长妇女” 。我没有看到第一个，但将难以顶端，这1 。的位置，这适应已变更为从二次世界大战匈牙利到西班牙，期间和之后，立即内战。年轻的男孩和主要特征，作为描绘的胡安迭戈巴托（仍然是西班牙最有前途的年轻演员） ，旨在找到他的母亲中，风暴，并发现异性对未来路向。成熟的妇女，法耶夫•达纳韦和乔安娜帕库拉包括，教导他关于爱情和激情，虽然他stumbles后，女孩自己的年龄（英格里德卢比奥星卡洛斯绍拉的的士）一次或两次。电影是娱乐性和价值，以及您的时间。太差，这是没有公布在美国或英国，但它现已在视频（无英文字幕） 。

From rising cult filmmaker Kenichi Ugana, a misfit horror-themed rock band moves to the Japanese countryside to write the greatest punk anthem in the world.

信奉「Punk同面豉汤一样衔重要」的地下乐队主唱花子深信明年今日就是自己的死忌—正如众多死于27岁的摇滚音乐人一样。花子死前最大的心愿就是参加英国的Glastonbury音乐节，奈何乐队捞唔起，唱片滞销之余惨被发行公司追债，更将他们放逐到农村。唔想就此成世调理农务，废青 乐团决心自救，就算无法用Punk歌救地球，都至少要唱出个名堂！花子死到临头爆发小宇宙，以B级恐怖片为灵感创作歌曲，到底「时日无多」的花子最后能否成功带领乐队冲出罨耷农村？日本新一代Cult界导演宇贺那健一发挥癫才想像，结合青春、死亡及音乐，继续语不惊人死不休。

Ukrainian folk song "Shchedryk" which was sung on Christmas Eve with good wishes, became a worldwide hit thanks to American authors by the name of "Carol of the Bells". The film is a symbol of unity of nations like the song "Shchedryk" - "Carol of the Bells". The epitome of the globe in the film is a large two-story house where three families of different nationalities live together like three countries on Earth. They live peacefully and amicably until the invaders come to their home, namely like they came to all of Europe, and ruin their piece as well as the world one. However, a little talented girl believes in the power of magic of "Shchedryk" and sings this song trying to restore the good by herself. Today this film is more actual than ever. History repeats itself. Many people go through the separation of nations refusing good. While watching a sweet talented child on the screen, people will be reminded what indifference and dissension may lead to. The song that unites all nations...