北海道某高中，高三男生筱崎修阳光帅气，品学兼优，是女孩子们追逐崇拜的偶像。同级的小广也是这群女孩中的一员，每当与筱崎近距离接触时，她就会心跳加速、头脑发懵，甚至贫血昏倒。正因为如此紧张，她迟迟不敢向对方表白。凭借一场篮球赛，筱崎得知了小广的心意，两个人终于走到一起。 只是快乐的时光毕竟有限，毕业的日子越来越近，年少不知愁的男孩女孩们也要为将来筹划。成绩一般的小广决定报考当地的札幌福祉大学，而筱崎的志愿却是名牌学府东京早稻田大学。如果志愿达成，则意味着两人从此要天各一方。小广顿时倍感失落，两个人的关系也变得别扭起来……

《前路漫漫》是玛丽·克莱门茨的一部音乐纪录片，它将加拿大民权历史的关键时刻，20世纪30年代印度民族主义的开端，与当今第一民族激进主义的强大势头联系起来。本片是由加拿大一些最优秀的歌手和音乐家组成的令人震惊的音乐组合，通过声乐、蓝调、摇滚和传统完美地连接了过往与现在。这是一个震撼灵魂的历史事迹，是对战士们发自内心的敬意。

为了私生女，谢棉被父亲污蔑为假千金，遭到百般折磨，被设计和流浪汉上床。没想到谢棉阴差阳错遇到了港城大佬靳寒川，走投无路时她求助靳寒川，因此怀了靳寒川的孩子，从此过上被豪门婆家团宠并打脸反派的生活。

孙想在婚姻中一次次隐忍退让，换来的却是母亲被丈夫遗弃高速、遭受婆婆羞辱。当亲情底线被践踏，她不再沉默——卖车、取证、离婚、重获新生。这不仅是女性觉醒的故事，更传递着真正的孝顺不是忍辱负重，而是有勇气守护所爱之人。当女人学会爱自己、敢反击，便是生活重新绽放光芒的开始。

六十岁生日这天，我对儿子和老伴说，我要离婚，儿子不理解，妈，你都一把年纪了，离什么啊，老伴却把手机往桌上一扔，离就离，我早就看不惯你了，要不是看在李航的份儿上，二十年前我就离了

本片根据彭德怀元帅青年时期事迹改编。湖南伢子朱华（金鑫 饰）因遭乡绅土豪缉拿，只身投奔湘军，不久升任排长，后因故被胡渊（白志迪 饰）保荐进讲武堂学习。在讲武堂，朱华巧遇地下党员程康（唐国强 饰），耿直的朱华见程康和恶霸之女胡湘玉（黄梅莹 饰）挽行心怀不满，但他不知胡湘玉也是地下党，是专程来刺杀军阀吴佩孚的特使。朱华的误解导致行刺失败，胡被捕入狱，朱华知悉懊悔万分。毕业后朱华升为连长，随北伐军攻打武昌时，再次碰见程康，在程的开导下，他决定跟共产党走。胡湘玉在“马日事变”中受伤，临终前叮嘱朱华不要再对国民党心存幻想。朱华系上红领带，决定率部起义...... 本片荣获1981年度文化部“优秀影片奖”。

A dancer rambles through a dark, endless tunnel. He is struggling, but somehow he keeps going. A Long Walk is a minimalist and contemplative metaphor for life’s ups and downs. Merging reality with visual imagery, the film reflects Malaysian dancer Ong Yong Lock’s inner world and the persistence he demonstrated while navigating the ebbs and flows of his 30-year career. 源自：https://lefifa.com/en/catalog/a-long-walk

The Culpepper Cattle Co. is a worthy example of a certain kind of early-1970s Western: deglamorized, unromantic, and frankly violent. This one begins in familiar terms, as a greenhorn lad joins a cattle drive, surrendering himself to the extremely focused leadership of boss Frank Culpepper. The episodes that follow are engrossing and colorful, and the drive gets more interesting when a quartet of lethal hombres join the ride. The business of frontier justice--which here usually means shooting strangers just to be on the safe side--is worked out in refreshingly unheroic ways. Clearly director Dick Richards (making his debut in a relatively brief directing career) is responding to the revisionist era, and specifically to the films of the great Sam Peckinpah.

Amre and Pascale live and move around within the same residential area in Paris. He is an immigrant from Egypt without papers for 17 years, she is a filmmaker and critic. When Amr asks Pascale for help in dealing with the authorities, she asks him if she can film how they fare. Beaucoup parler: what Amre cannot express in words in French – his thoughts, his fears and living circumstances – Pascale attempts to gauge and translate. An excruciatingly funny, honest process of understanding in which baker Karim pragmatically intervenes from time to time, being well aware of all the scattered experiences it entails. And so the two of them, she ladylike, he mischievous, put on a real-life migration fairy tale in their neighbourhood. Both of them simultaneously play themselves and the exaggerated roles which populate debates about immigration not just in France. For despite a mix of French, Arabic-French and Google Translate, true gibberish is far from being reached. It is the language of the immigration office that is by far the least comprehensible in this clear-sighted film about opportunities in life and loss of chance.