The Nuer call themselves Naath. Only their immediate neighbors, the Dinka, Shilluk and Arabs, call them Nuer. Most foreigners, which includes those with whom the Nuer neither fought nor traded, are called Bar which means 'almost entirely cattleless'. Those foreigners who live even more remotely and include Europeans are called Jur which means 'entirely cattleless', a most unthinkable state indeed. The people of Ciengach, where the film was made, are the Eastern Jikany, one of about a sixteen distinct tribes of Nuer. Twenty-five years ago E.E. Evans Pritchard estimated the total population of Nuer to be around a quarter of a million. Since then the number has undoubtedly dwindled considerably due to warfare, civil strife, sickness, drought and the general abandonment of traditional lifeways. However, those who still called themselves Naath did so with an extraordinarily vivid image of themselves as superior people living a superior life. Furthermore, it was impossible not to see that their lives were inextricably tied to their herds. Ciengach is a perfected plan for co-posperity of cows and humans. It cannot be said that filming the Nuer was an easy task, but visually it was always absorbing. They were seldom resentful as was the rule with the Islamicized Afar in the Danakil Desert to the Northeast. On the contrary, the Nuer had a real, even exaggerated, sense of their importance. They considered themselves handsome and displayed their elegance with pride. Nuer existence has, consistent with life led on a flood plain, an almost tidal rhythm due largely to the movement of cattle into and out of the villages. At almost precisely 10:30 in the morning cows and bulls began to groan, stand up and in other ways indicate that the time had come for them to be released and on their way to graze. Within moments the entire herd was sounding a unified complaint. Men and boys then slipped the tethers from their necks and the flow of cattle began. Five more minutes and the village was virtually silent. The herd had receded toward the river and to whatever grass the younger men could find. So the days passed into twilights of returning herds and men and the nights were filled with stars and an almost intoxicating 'bucolia.'

riko首尔江南区道谷洞高级公寓区（Tower Palace）与临近仅一路之隔的板村，前者富豪们的奢华生活与板村里贫民寒酸拮据的日子可谓是“天堂与地狱”之别。在板村里，生活着育有四兄妹的单亲家庭。 表面叛逆独行的长子一男(赵汉善饰)常常惹起无端的是非，因而与碌碌无为却专制自我的父亲时起摩擦是家常便饭的事情，内心充满对家人的爱的他外出打工——挣一笔钱来改变家人生活的窘境。二女提灯（柳敏饰）虽然失聪，从小心窍伶俐的她像母亲一样默默地守护着这个家，照顾弟弟们和患了老年痴呆症的奶奶。二男（徐民宇饰）是个乖巧的模范生，青春期情窦初开的他喜欢上了住在Tower Palace的同校女孩恩荣，却因出身悬殊而羞于表白，正在无奈的苦恼之中。最小的三男（姜汕理饰）是全家最活泼天真的人，爱唱歌的他用稚嫩的嗓音去调和全家紧张的气氛。 近来关于政府要开发板村，拆除所有的木板房的传言不断，一男刚回到了家中就听到了父亲对晚归的三男严厉的责骂声。本来就对父亲有许多不满的一男偷偷在背后牢骚不断，却也分担了家里不少的活。一家人和村里的其他人，同样面临着失去时代倚之为生的土壤的残酷现实，陷入了纷乱的纠葛。本来就勉强支撑的生活眼看就要分崩离析，这家人能否在苦难中找到幸福的曙光？

历史主义的恢复，史诗意识的张扬，在多元的民族矛盾、政治斗争和军事较量中，展示人物大喜大悲的命运。

纪录片《努尔哈赤》是高国栋工作室历时三年精心创作的一部大型历史纪录片。该片以大气精美的画面、丰富生动的镜头语言、跌宕起伏的故事，展示了一代枭雄努尔哈赤金戈铁马、血雨腥风的人生历程。2010年11月该片先后在央视《探索·发现》以及我台北方频道播出并取得良好反响。在2010全球华人纪录片网络盛典活动中该片获得了网上观众的热烈观看以及专业评审的高度评价，最终荣获优秀纪录片大奖。

This three part French TV serial for children (alternate versions exist as a feature, Manoel's Destinies, and a 4 part Portuguese TV serial, Adventure in Madeira) is the favourite of many devotees of Raúl Ruiz. This is because it ties the enchantment and mystery of Lewis Carroll, Carlo Collodi and the Brothers Grimm to the filmmaker's experiments with narrative strategies and what he calls the pentaludic model of storytelling (where characters are thrown dice-like into combinations and situations governed by the play of Chance and Destiny). But this film for children is among his most complex works, hard to grasp in its totality. Often it can seem an arbitrary collection of free-associational images and words, bordering on nonsense. But attentive viewers will have the strong sense that there is method behind this near-madness. Otherwise, it could never produce the intense emotions it so clearly offers. Ruiz's obsessions from film to film bind the fragments together – within a single work and across projects – and the emotion comes from the totally unexpected forking taken within a well-worn territorial map. Part One presents us with three possible worlds. In each world, seven year-old Manoel has a different response to an entreaty from the outside world. Fittingly, in this film in which nothing coincides, the three parts of the story do not coincide with the three-episode structure (the trinity-form recurs frequently in Ruiz). In this case, past, present and future – the unholy trinity or Time en soi – is the film's very protagonist, variously called 'long ago' (Part One), 'now' (Part Two), and 'future' (Part Three). At the outset, this gives the story an apparent order before digressions take it over. Part Two (the status of which is at first confusing since it begins after the three mini-narratives of the first Part and before the end of Episode One) is entitled 'The Picnic of Dreams'. Whilst vaguely 'keeping to the storyline', it veers off in many different directions, where the thematic coupling ordinary/special replaces the familiar/unknown dualism of Part One. (Each Part is guided by a thematic 'dominant', a pair of notions that tend to exchange their meanings as it progresses.) Part Three (beginning in Episode Two), entitled 'The Little Chess-Champion', hands the (until now) off-screen voice-over narration to Manoel himself. He promises to tell his own story, but adds that it's 'a story that I made up in my distant childhood and that happens in the future'. The tone is less Baroque, more Gothic, as Ruiz explores the 'wonders of the night'. The filmmaker's obsession in this section concerns perception and the deciphering of secret signs and codes.

A poor Afghani leaves his family behind to earn a living as a dried fruit vendor in India. Profoundly homesick, he befriends a young girl who reminds him of his own daughter. Meanwhile, the locals are distrustful of all foreigners.

Rahmat, a middle-aged Afghan man, whose heart overflows with fatherly love for a little girl Mini, in the bustling city of Calcutta set in the year of 1965.

这部电影改编自拉宾德拉纳特·泰戈尔的短篇小说《喀布尔人》（1892年）。这是一个阿富汗中年男子拉曼的故事，故事发生在1965年繁华的加尔各答市，他对一个小女孩敏妮充满了父爱。这部电影敏锐地捕捉到了一段温暖人心的关系的本质，以及超越国界、宗教和文化的关于爱的深刻意义。