我打造了纳米光刻机

大夏科学家陆一鸣在年轻时，因为学历问题，被女友李梦瑶的父母强行拆散，孤独终老，在生命的最后时刻研发出纳米光刻机后，重生回了考研的现场，这一世，他为了考上研究生，不与女友分离，毅然在考研试卷上写上了纳米光刻机的研究方法。

纪录片《克里斯汀·迪奥的设计图》，迪奥之家首次公开迪奥千余张设计图，讲述了时尚教皇迪奥的惊人设计和传奇一生。

《光刻》聚焦中国当代颇具影响力的摄影师群体，从专业的视角出发，探寻影像的本质、挖掘照片背后的故事。节目以对谈的形式呈现，通过摄影师本人的讲述，回顾历史、记录历史，引发观众对影像与时代的思考。

在一年一度的津门忆旧会，小丑利用魔术将金丝大褂盗走，津门三大戏法家族：手速见长，擅长障眼法的覆手唐门、制造戏法机关和道具的机关李家、擅长破解各…

A friend of mine had rented "Shiner" only because the clerks at his local video store were talking about "how much of a bigot the director is," implying that homophobia was at the root of the film (apparently these folks never watched the special features on the DVD, which totally negates that opinion). My friend took the video home and reported to me his fascination with the film; at the same time, he felt aroused, repulsed, intrigued and frightened during and after the flick. He told me about the premise of the film, and felt somewhat ashamed for finding some of its darker content erotic. 　　 　　A few weeks later, I picked up the film and had a similar experience. I was confused; in the queer movement were taught so much about power dynamics and organize ourselves to fight violence, but here was a dramatically different take on the subject. What ended my confusion was the interview with writer/director Christian Calson on the DVD. The line of his that grabbed me the most: "I didn't want to make another gay romantic comedy." Things suddenly made sense to me. So many queer, I mean, gay films (ahem) are merely homo-remakes of mainstream romantic comedies. As queers, our message got lost as we sought inclusion in a particular medium. So, in what might be the most post-modern move of a writer/director in film history, Christian Calson sought to queer gay cinema. (Yes, I'm using queer as a verb.) He later supports this argument by talking about a form of "post-gay liberation" in which gay leaders shouted "We're doctors! We're lawyers! We're teachers!" to the point our difference and diversity became invisible. "We're just like you" led to us becoming nothing, in a sense. 　　 　　While the movie is disturbing at times, it's thoroughly engaging. The audience member feels like a voyeur, peeping into the lives of these three "couples." And through that voyeurism, we come to a closer understanding of the elements of violence and how it relates to queerness. From self-loathing to internalized homophobia, from bitter rage to being just plain f'ed up, "Shiner" takes us through a mini-gamut of how violence affects us all, in ways no PSA or "the More You Know" segment could ever hope to address. 　　 　　I highly suggest that you pick up the DVD of the film and watch the special features, including the Calson interview and the commentary, which is a noteworthy production in its own right.

A friend of mine had rented "Shiner" only because the clerks at his local video store were talking about "how much of a bigot the director is," implying that homophobia was at the root of the film (apparently these folks never watched the special features on the DVD, which totally negates that opinion). My friend took the video home and reported to me his fascination with the film; at the same time, he felt aroused, repulsed, intrigued and frightened during and after the flick. He told me about the premise of the film, and felt somewhat ashamed for finding some of its darker content erotic. 　　 　　A few weeks later, I picked up the film and had a similar experience. I was confused; in the queer movement were taught so much about power dynamics and organize ourselves to fight violence, but here was a dramatically different take on the subject. What ended my confusion was the interview with writer/director Christian Calson on the DVD. The line of his that grabbed me the most: "I didn't want to make another gay romantic comedy." Things suddenly made sense to me. So many queer, I mean, gay films (ahem) are merely homo-remakes of mainstream romantic comedies. As queers, our message got lost as we sought inclusion in a particular medium. So, in what might be the most post-modern move of a writer/director in film history, Christian Calson sought to queer gay cinema. (Yes, I'm using queer as a verb.) He later supports this argument by talking about a form of "post-gay liberation" in which gay leaders shouted "We're doctors! We're lawyers! We're teachers!" to the point our difference and diversity became invisible. "We're just like you" led to us becoming nothing, in a sense. 　　 　　While the movie is disturbing at times, it's thoroughly engaging. The audience member feels like a voyeur, peeping into the lives of these three "couples." And through that voyeurism, we come to a closer understanding of the elements of violence and how it relates to queerness. From self-loathing to internalized homophobia, from bitter rage to being just plain f'ed up, "Shiner" takes us through a mini-gamut of how violence affects us all, in ways no PSA or "the More You Know" segment could ever hope to address. 　　 　　I highly suggest that you pick up the DVD of the film and watch the special features, including the Calson interview and the commentary, which is a noteworthy production in its own right.

Maxime, un jeune homme de 25 ans, débarque à Paris, mais souhaite rejoindre Justine, la femme qu'il aime, en Inde. Au bar de l'hôtel Raphaël, il fait la connaissance de Jack Lesterhoof, un riche homme d'affaires qui lui propose de devenir son interprète pour un rendez-vous important. Maxime accepte. 　　Les deux hommes deviennent bientôt amis. Jack décide de faire un break, de rompre avec la routine et d'accompagner Maxime en Inde.

Light on Earth will examine the phenomena of so-called bioluminescence.

这是有关《灵笼》动画片制作的幕后故事，同时也是幕后工作人员的成长故事。在《灵笼》最终上线前的三个月里，主创团队要在确保质量的前提下，尽量多的囤积出成片，以保证上线后的正常播出。在这个过程中，主创们享受着创作的快乐，也经历着灵感枯竭的痛苦、进度压力的催促、团队合作的磨合以及工作与生活之间的矛盾等多种困难。主创们在制作出最棒的《灵笼》的同时，不断历练出更加完善的自己。