为纪念让 - 雅克·卢梭（1712 - 1778）诞辰300周年（1712 - 2012）而制作的55部短片，将他的哲学思想置于新的背景中。

陆景然回国后向姜月打听宋知南的近况，得知她一直单身，心中愧疚，担心对方不原谅自己当年独自出国。他约宋知南见面求复合，宋知南因被抛下之事耿耿于怀，气愤离去。姜月随后告知真相，陆景然当年是因病被迫出国治疗。宋知南虽心疼，却仍介怀对方未与自己共患难。几天后陆景然再次解释并求复合，宋知南已然释然，拒绝了他，选择各自开始新生活。

这幅肖像画灵感源自亨利·卢梭（Henri Rousseau），即人们所说的“海关官员卢梭”（“le Douanier Rousseau” ，1844 - 1910 年）。他是一位难以归类的艺术家，自学成才且富有远见，虽不被人理解却坚信自己的天赋。他的画作专注于梦想、想象和童年，对现代艺术产生了重大影响。本项目与奥赛博物馆（musée d’Orsay）合作。亨利·卢梭，即“海关官员卢梭”（1844 - 1910 年），在艺术史上是独一无二的存在……

六岁男孩周朗被母亲沈蔓独自留在家中，家中突发火情，孩子因够不到高处门栓被困屋内。物业工作人员罗凯火速赶到现场，一边安抚引导孩子，一边配合消防员，成功将周朗平安救出。事发之后，沈蔓起初一味推卸责任，甚至投诉施救的罗凯。在完整证据以及家人的劝导之下，她终于认清自身过错，公开诚恳道歉。一家人自此重视居家消防安全，用心陪伴孩子，帮他慢慢消解火灾留下的心理阴影。

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.

夏日高温天，奶奶周桂兰因贪玩疏忽，将小孙女独自留在密闭车内，孩子险些中暑遇险。小区保安及时发现并全力施救，奶奶事后百般推诿辩解。孩子父母收集完整证据理性维权，奶奶幡然醒悟，主动赔偿、公开致歉自省。这场意外给孩子留下心理阴影，全家立下监护边界，奶奶长久用行动弥补过错，警示大众重视儿童乘车安全。

老实本分的张老蔫过日子格外节俭，养的大黄狗三年来只喂剩菜汤。一日家中二十只鸡受害，他怒不可遏，要将闯祸的黄狗卖到狗市。直到邻居道出真相，狗狗是为抓偷蛋的菜花蛇，才误伤到鸡群。看到狗狗身上的伤痕与过往所受的委屈，张老蔫满心愧疚幡然醒悟，放下执念赎回狗狗，从此用心善待这条忠心护主的大黄狗。

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.

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。