After the death of his wife, former civil servant Henri Rousseau takes up painting full time. Coming across as a rarified boob, Russell's version of Rousseau could best be described as an accidental master. Most of his canvases are crackpot versions of reality as seen through the eyes of a naïve painter, and his loneliness and lack of worldly perspective really amplifies his applied amateurishness. Russell treats this tale as sadly comic, and there are many jokes and jibes as Rousseau's expense. In fact, there is such a lighthearted atmosphere here that when we finally view the artist's best known masterpiece - "The Sleeping Gypsy" - it comes as quite a shock. Indeed, many of Russell's films purposely demystify the legendary, showing them just as capable of flaws and foibles as us mere humans. Indeed, as he continued on in his career, the filmmaker would make such an approach his main raison d'etra. Much of his work here can be seen as the basis for Women in Love, Tommy, and his ultimate classical rock god goof, Listzomania. 　　A dramatised portrait of the painter Henri Rousseau (1844-1910), known popularly as 'Le Douanier' because of his day job as a Customs clerk (he never reached the level implied by the nickname), both the film's best-known title and the one that actually appears on screen (Henri Rousseau: Sunday Painter) refer to the fact that his art had to be produced in his spare time, even after retirement. 　　Rousseau is played by the painter James Lloyd, the subject of an earlier Ken Russell Monitor documentary whose own career as a misunderstood naïve painter had many similarities. As Russell later told his biographer John Baxter, "He helped a lot with the atmosphere and the actors, because professionals have to adopt a different attitude when they're with someone like that. They can't do their 'acting' bit." 　　It was Russell's first fully dramatised biopic, without either the restrictions imposed by Monitor's former editor Huw Wheldon or the complex film-within-a-film framework of The Debussy Film. Here, the actors use their own voices (Lloyd's Cheshire accent neatly paralleling Rousseau's provincial Breton) or, in Annette Robertson's case, are dubbed by a male voice to create an unsettlingly androgynous Alfred Jarry. The film also reunited Russell with Melvyn Bragg and Oliver Reed, who wrote and delivered the understated commentary. 　　Given Russell's own battles with both critics and producers, it's tempting to assume that Always on Sunday is exorcising personal demons, as the film is both by and about artists who operate on instinct, frequently puting them at odds with the expectations of the mainstream establishment. Although Russell had had a much easier ride than Rousseau (at least up to this point), his work had already undergone much criticism and creative interference.

The life and thoughts of an Enlightenment philosopher who suffered from chronic restlessness. A detailed biography which places special emphasis on his most influential texts and commemorates his tercentenary birthday. Using "Les confessions" as the leitmotif, the film alternates between readings by actor Roger Jendly, encounters with international experts and musings on Rousseau's travel destinations. Its manner does not conform to today's tempo, but rather seems to follow the rhythm of a thought as it unfolds, resulting in an inevitably dense portrait on the extraordinary life of one of the leading French philosophers of the Enlightenment.

朵拉是一个留着棕褐色短发、有着健康深色皮肤、性格开朗阳光的小女孩，她是一个十分爱冒险的小家伙，她的足迹遍布世界各地，无论是崇山峻岭，还是大洋湖泊，甚至奇幻秘境，都曾看到朵拉的身影。她还有一个好朋友，小猴子布茨，更有勇敢的小表哥迪亚哥以及疼爱保护她的家人。

卢梭1844年生於法国西北部的拉瓦尔市，幼年家境并不富裕，1871年进入巴黎市政府海关处担任收税员，而终其一生，就是担任这个安份的公务员；他的闲暇嗜好，就是创作绘画，曾经获准在罗浮宫美术馆临摹。曾经参加官方的沙龙展，却未曾入选；但他仍自得其乐的不断创作。 　　卢梭於 1855 年从巴黎一所收费站中退休后，始全力作画，因此博得「关税员」的称号。别人常把他归为「原始的」、「素人的」、「周日画家」之列，他却光明正大地认为自己是不折不古的专业画家。 　　1891年起常至植物园观赏温室里的热带景物，创作了许多充满幻想式的作品，如「睡眠中的吉普赛女郎」、「梦」等，1893年退休之后，生活清苦，却全心投入绘画创作；他充满想像的作品，却获得了诗人的赞赏及毕加索等前卫画家所推崇。 　　卢梭画的主题包罗万象，除了巴黎市郊，还有手法率真直接的人像，瑰丽的寓言性作品，花卉、尤其是一批富异国情调的大幅幻想式作品，这些作品是他常逛巴黎的公园、植物园、动物园所激发出来的。 　　卢梭创作热衷于创造一个幻想的世界，他的艺术很难归到哪一派，但他的画法属超现实主义。他似乎总是生活在一个梦幻的世界，这种与生俱来的爱幻想的天真性格，在他的日常生活中也充满天真烂漫，他的画具有原始童话般的魅力。

Les tribulations d’un professeur de philo, Benjamin Rousseau, aussi brillant qu’atypique et rebelle, et de ses élèves. Il leur donne des armes pour affronter la vie, qui sont Kant ou Spinoza. L’ironie dans tout cela : Rousseau, qui aide ces jeunes avancer, fait du surplace dans sa propre vie.

Les tribulations d’un professeur de philo, Benjamin Rousseau, aussi brillant qu’atypique et rebelle, et de ses élèves. Il leur donne des armes pour affronter la vie, qui sont Kant ou Spinoza. L’ironie dans tout cela : Rousseau, qui aide ces jeunes avancer, fait du surplace dans sa propre vie.

根本律子（吉永小百合）には黒木保（松橋登）という恋人がいた。共に二十二歳で、律子は楽器店のピアノの調律師であり、市役所の事務員をしている父信吾（三木のり平）との二人暮し。一方保は横浜の小さなクラブでピアニストをしていた。結婚適齢期にさしかかった律子は、芸術家肌の保が、結婚生活にどれほど本気で、具体的なプランを持っているのか不安だった。そんなある日律子は、姉絹江から絹江の夫の同僚で教師の阿部吾郎（竹脇無我）との見合いを勧められた。見合いの翌日、律子と保はデートするが、見合いの一件が保にばれて二人は喧嘩をしてしまった。しかし保が明日、律子の父と逢うという約束で和解が成立した。が、カタブツの信吾と保では話があうはずがなかった。律子と保の間にも二人がお互いにいだいている将来の生活設計の喰い違いが生じ、その翌日、二人の喧嘩は頂点に達し、保はクラブの女志津子の誘惑に負け一夜を共にしてしまった。律子も父の勧める阿部とのデートを重ね、飾り気のない明るい阿部に好意を感じるようになった。しかし阿部とのデートで、保の働いているクラブに行った時、淋しそうに、しかも投げやりにピアノを弾いている保の姿を見て今までの喧嘩が逆に彼への慕情となって律子の心によみがえってきた。これを知った阿部は律子に猛然とプロポーズしたが、律子の心は動かなかった。再び結ばれた二人の将来は明るかった。

粉红猪小妹是一只非常可爱的小粉红猪，她与弟弟乔治、爸爸、妈妈快乐地住在一起。粉红猪小妹最喜欢做的事情是玩游戏，打扮得漂漂亮亮度假，以及住在小泥坑里快乐地跳上跳下。

本片讲述了在松鼠小镇中生活的小鹿蓝蓝与家人、朋友的日常生活。全剧通过小鹿蓝蓝的视角出发，真实还原孩子、父母平时遇到的问题和困难，并给出科学的解决办法，为中国父母提供了一部更适合中国宝宝的科学育儿动画。