本片根据三十年代的一宗真实事件改编而成。描述一名芝加哥的记者深入调查一宗冤案，他经过四处查访，后来得到有利证据，终于洗脱了一名男子谋杀警察的罪名。

本片根据三十年代的一宗真实事件改编而成。描述一名芝加哥的记者深入调查一宗冤案，他经过四处查访，后来得到有利证据，终于洗脱了一名男子谋杀警察的罪名。

NHK电视台从2006年开始跟踪拍摄宫崎骏，制作出纪录片《十年一梦》。宫崎骏是日本当代最重要的电影导演之一，创作了一些在时尚独具标志性和广为人知的动画电影。宫崎骏特许了本片的导演和摄影师Kaku Arakawa，仅他一人跟随他工作并拍摄纪录片，镜头将记录下独家、真实的宫崎骏幕后生活。第 一集与2019年2月24日首播，第二集将于3月30日播出，第三第四集分别是4月21日和5月26日播出。 　　在第一集中，导演记录拍摄了宫崎骏制作《悬崖上的金鱼姬》(Ponyo on the Cliff by the Sea)构思人物和情节。宫崎骏探索了他的身体能力和想象力的极限，以召唤出令人难忘的主角。

NHK电视台从2006年开始跟踪拍摄宫崎骏，制作出纪录片《十年一梦》。宫崎骏是日本当代最重要的电影导演之一，创作了一些在时尚独具标志性和广为人知的动画电影。宫崎骏特许了本片的导演和摄影师Kaku Arakawa，仅他一人跟随他工作并拍摄纪录片，镜头将记录下独家、真实的宫崎骏幕后生活。第 一集与2019年2月24日首播，第二集将于3月30日播出，第三第四集分别是4月21日和5月26日播出。 　　在第一集中，导演记录拍摄了宫崎骏制作《悬崖上的金鱼姬》(Ponyo on the Cliff by the Sea)构思人物和情节。宫崎骏探索了他的身体能力和想象力的极限，以召唤出令人难忘的主角。

解放战争时期，广西。国军师管区司令龙耀祖（马吉告 饰）丢失机密文件遭上峰处决，并限其子龙家昌（赵文炘 饰）十日内追回密件。偷出密件的是阿峰（祝新运 饰）、虎仔（常戎 饰）、和兰妹（陈惠珍 饰），地下党农伯（宋德 望饰）要他们把密件十日内送到游击区，后农伯为掩护孩子们壮烈牺牲。三个少年闯过敌人层层设防，扒车混过敌人哨卡，下车时虎仔被敌王参谋（程之 饰）发现，博斗中双方受伤。他们找到丁济平（韩非 饰）医生为虎仔作手术，并将找上门来的王参谋打死，三少年终于来到接头地点。上级派阿妲（何玲 饰）前来接头，不料敌人在河边设下了埋伏......

解放战争时期，广西。国军师管区司令龙耀祖（马吉告 饰）丢失机密文件遭上峰处决，并限其子龙家昌（赵文炘 饰）十日内追回密件。偷出密件的是阿峰（祝新运 饰）、虎仔（常戎 饰）、和兰妹（陈惠珍 饰），地下党农伯（宋德 望饰）要他们把密件十日内送到游击区，后农伯为掩护孩子们壮烈牺牲。三个少年闯过敌人层层设防，扒车混过敌人哨卡，下车时虎仔被敌王参谋（程之 饰）发现，博斗中双方受伤。他们找到丁济平（韩非 饰）医生为虎仔作手术，并将找上门来的王参谋打死，三少年终于来到接头地点。上级派阿妲（何玲 饰）前来接头，不料敌人在河边设下了埋伏......

Ten Skies 　　Directed by James Benning. 　　US 2004, 16mm, color, 109 min. 　　Filmed around Val Verde, California, this series of skyscapes gracefully visualizes human civilization's interaction with, and impact on, the landscape. The skies and cloud formations chosen by Benning are affected by pollution from an industrial factory, jet trails, and smoke from an accidental wildfire, all clearly legible upon the firmament. And yet, despite these ominous environmental undercurrents, Benning conceived Ten Skies as an anti-war film, describing his work to be "about the antithesis of war, [about] the kind of beauty we're destroying." This intention is affirmed in the reflective serenity of his images; the varying tones, textures and colors of the atmosphere, and the shifting transformations of billowing clouds that produce astonishing perceptual revelations about scale, ephemerality, and the cinematic frame. 　　http://hcl.harvard.edu/hfa/films/2009marapr/benning.html

Ten Skies 　　Directed by James Benning. 　　US 2004, 16mm, color, 109 min. 　　Filmed around Val Verde, California, this series of skyscapes gracefully visualizes human civilization's interaction with, and impact on, the landscape. The skies and cloud formations chosen by Benning are affected by pollution from an industrial factory, jet trails, and smoke from an accidental wildfire, all clearly legible upon the firmament. And yet, despite these ominous environmental undercurrents, Benning conceived Ten Skies as an anti-war film, describing his work to be "about the antithesis of war, [about] the kind of beauty we're destroying." This intention is affirmed in the reflective serenity of his images; the varying tones, textures and colors of the atmosphere, and the shifting transformations of billowing clouds that produce astonishing perceptual revelations about scale, ephemerality, and the cinematic frame. 　　http://hcl.harvard.edu/hfa/films/2009marapr/benning.html

I saw this obscure German film in Toronto in 1956, my first exposure to Oskar Werner. A "sleeper" of a movie for me, but so long ago and it seems never to be seen again. The topic has been treated many times but never, I think, to such effect. The last days in the bunker are entirely through the wondering subjective eyes of Werner, as Captain Wuest, a rather unimportant guardsman. Hitler and his henchmen are always kept at a distance, the way Wuest views them from his station, and what stands out in my memory is the finale of a drunken champagne party as though in celebration of something, but in reality as their means to forget the impending doom looming ahead as the Russians can be heard closing in. The problem with films portraying famous or infamous people is that they are almost always unbelievable because we are unwilling to suspend our disbelief, aware that they are actors up there trying to imitate the unknowable. Here, at least for the English speaking audience, the problem does not arise, we understand only through subtitles, and we hear the characters speaking in their own language. And, thank God, it is in black and white. The impact of the film stays with me still, and of course, Werner was a major revelation.

I saw this obscure German film in Toronto in 1956, my first exposure to Oskar Werner. A "sleeper" of a movie for me, but so long ago and it seems never to be seen again. The topic has been treated many times but never, I think, to such effect. The last days in the bunker are entirely through the wondering subjective eyes of Werner, as Captain Wuest, a rather unimportant guardsman. Hitler and his henchmen are always kept at a distance, the way Wuest views them from his station, and what stands out in my memory is the finale of a drunken champagne party as though in celebration of something, but in reality as their means to forget the impending doom looming ahead as the Russians can be heard closing in. The problem with films portraying famous or infamous people is that they are almost always unbelievable because we are unwilling to suspend our disbelief, aware that they are actors up there trying to imitate the unknowable. Here, at least for the English speaking audience, the problem does not arise, we understand only through subtitles, and we hear the characters speaking in their own language. And, thank God, it is in black and white. The impact of the film stays with me still, and of course, Werner was a major revelation.