The journey of Alain Prost, four-time Formula 1 world champion and winner of 51 races, undoubtedly the greatest and best French racing driver in the history of F1. 　　Le parcours d'Alain Prost, quadruple champion du monde de Formule 1 et lauréat de 51 courses, assurément le plus grand et le meilleur pilote automobile français de l'histoire de la F1.

本剧改编自同名网络漫画书，讲述主人公天才心理学家Dr. Frost秘密加入搜查队，通过正式和非正式的调查，侦破罪案的故事，是一部健康的心理调查剧。

前阵子传出消息说 NBC 将拍摄一部两小时的特别版《老友记》，不过后来证实是误传，真实的情况是 NBC 将召集包括《老友记》和《生活大爆炸》在内的40年来若干部经典情景喜剧的主创拍摄一部特辑，专门献给著名美剧导演詹姆斯·布罗斯，庆祝他执导的美剧满 1000 集。

what motivated me up to the new director's festival to catch 'martin frost' tonight was the brutal review that it got yesterday from the lead critic of the new york times, brutal dismissal, to be more accurate, 'the less said about (it) the better', she said, and i figured that any movie able to teach Ms Dargis the virtue of silence for even a few column inches would be worth the trip. 　　and worth the trip it was. we are brought into a paradise of limpidly beautiful visual textures. the oaken rhythms of a country house ensconced in a springtime parkland of luxuriant trees and luminous skies bestow the soothing natural blessing needed by the main character, martin frost (David Thewlis), a writer rubbed raw by the mechanics of finishing a novel in new york city. (Thewlis makes palpable the casualty of intrapsychic machinery sawed into daemonic reverb against the banausic hive). then paradise morphs into purgatory, leavened comedically, in Dante's sense, by the postmodern angelic visitations of Claire (Irene Jacobs) and Anna (Sophie Auster). 　　unfortunately, to my taste, the verbal dimensions of the film are flaccid, the logic more fanciful than imaginative, the narrative arc crippled by some irredeemably creaky plotting, especially at the crucial initiation of the relationship between martin and Claire where the seeds of common sense are thrown to the magpies of theatricality. 　　but so beguiling is the willful vulnerability of auster's fantasy, and the edgy interplay that it potentiates between Thewlis and Jacobs, and the camera, and later Sophie Auster, and the broad comedy of a rural everyman (Michael Imperioli), that it is very pleasant to be carried along on the visual foam of uncertain sensual delight, eddying into a feeling that this film's oddly louche light touch is uniquely adept at tracing some grave lineaments of the human heart. 　　go innocently.

Rostropovich, who had already achieved international recognition in the 1950s, was forced to flee his country in 1972. He defended Solzhenitsyn who was expelled from the USSR for having published the "Gulag archipelago". Deprived from of his citizenship by the Soviet authorities, Rostropovich settled in Paris and Washington. This gave birth to his legend.

No-one has done more for the cello than Mstislav Rostropovich, or Slava as he was widely known. As well as being arguably the greatest cellist of the twentieth century, he expanded and enriched the cello repertoire by the sheer force of his artistry and his personality and composers lined up to write works for him. 　　In this film by John Bridcut, friends, family and former pupils explore the unique talents of this great Russian artist, and listen to and watch him making music. Contributors include his widow Galina Vishnevskaya and their daughters Olga and Elena; the eminent conductors Seiji Ozawa and Gennadi Rozhdestvensky; and cellists who attended his famous classes in Moscow, including Natalya Gutman, Mischa Maisky, Moray Welsh, Elizabeth Wilson and Karine Georgian. 　　The film traces the development of Rostropovich's international career amid the political tensions of the final years of the Soviet Union.

Originally Das Madchen Rosemarie, this German "musical tragedy" has a lot in common with the Bertold Brecht/Kurt Weill theatrical pieces The Threepenny Opera and The Rise and Fall of the City of Mahoganny; in fact, the music heard throughout was taken from Weill's backlog. Austrian beauty contest winner Nadja Tiller plays the prostitute heroine, based on a real-life call girl whose predilection for blackmailing her high-profile customers ended with her mysterious death in 1957. The film was advertised as a "satire," with the satirical level exemplified by a chorus of capitalist businessmen rhythmically opening and closing their briefcases. The "frivolity" of Rosemary is punctuated by moments of chilling horror, including the film's bleak denouement.

By the time Clarke made a biopic on Robert Frost for public television, he was a long-celebrated American institution. Though featuring him accepting the Congressional Gold Medal from President Kennedy at the White House, Clarke lingers on the 88-year-old poet busily ambling about his house and property in Vermont and intersperses this with relaxed talks to students at Sarah Lawrence and Amherst Colleges. Jokingly acknowledging his film crew at times, Frost appears comfortable and amused with his place in the sun. Relatively conventional with a verité cognizance, Clarke’s stroll “above ground” earned her the Academy Award for Best Feature Documentary in 1963.

从13集节目中挑选出两场精彩的演出，表彰曾在阿波罗现场秀出现过的女孩们。

唯一全景反映《马可波罗东游记》的影视作品！由北京电影制片厂与意大利广播电视公司合拍，中国演员英若诚对忽必烈这个角色的苍凉演绎，最终在意大利获得年度最佳男演员奖。该剧亦赢得艾美奖最佳电视剧奖。 　　影片简介： 　　最初马可·波罗随同两个牧师被派往忽必烈朝廷传教，以期对方能皈依基督。然而半路上，马可就被随行的牧师们遗弃了，因为后者怀疑世上根本就没有中国这个国家的存在。在经历千辛万苦之后，马可终于凭借自己的力量到达了中国，并被视作外交使节加以礼遇。在随后的20年中，马可深入探寻中国文化，走过了许多地方。归国后，他写出了那本著名的《马可·波罗游记》，彻底改变了西方世界对于中国的看法。