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.

两个老太太写信拌嘴，绵里藏针笑里藏刀为点小事要写好几封信争执不休，但是信末还不忘记 kiss kiss 　　Based on the books and Radio 4 series written by Carole Hayman and Lou Wakefield, Ladies of Letters transfers to the small screen in this new 10-part adaptation. 　　Irene (Lipman) and Vera (Reid) meet at Vera’s daughter’s wedding and begin a correspondence that, beneath a veneer of civility, hides a constant battle of one-upmanship as they regale each other with stories of blissful holidays, delicious recipes and grateful grandchildren. 　　In reality, both are lonely, taken for granted by their families and their correspondence is a lifeline for them: for all the unspoken animosity, they need each other.

两个老太太写信拌嘴，绵里藏针笑里藏刀为点小事要写好几封信争执不休，但是信末还不忘记 kiss kiss 　　Based on the books and Radio 4 series written by Carole Hayman and Lou Wakefield, Ladies of Letters transfers to the small screen in this new 10-part adaptation. 　　Irene (Lipman) and Vera (Reid) meet at Vera’s daughter’s wedding and begin a correspondence that, beneath a veneer of civility, hides a constant battle of one-upmanship as they regale each other with stories of blissful holidays, delicious recipes and grateful grandchildren. 　　In reality, both are lonely, taken for granted by their families and their correspondence is a lifeline for them: for all the unspoken animosity, they need each other.

毛泽东书信是毛泽东留给后世的一笔独特的思想文化遗产，对于了解毛泽东伟大壮阔的一生和博大雄浑的内心世界有着不可替代的重要价值。这些书信风格各异、内涵丰富，有爱国热情，有青春激情，有革命豪情，有浪漫诗情，有儿女亲情，有淳厚乡情，充溢着博大而真挚的思想情感。

信贵情，情贵真。在毛泽东风格各异、内涵丰富的书信中，充溢着博大而真挚的思想情感。《毛泽东书信故事》通过书信的这一独特视角，反映毛泽东的革命实践经历、思想发展过程以及中国革命波澜壮阔的历程；反映他的人际交往、政治智慧、领导艺术与崇高风范。深入挖掘背后故事，彰显出“书信”中所蕴含的思想体量和文化力量。 　　中共中央文献研究室编纂的《毛泽东书信选》中收录了毛泽东书信1500多封，还有200多封书信性质和形式的电报。《毛泽东书信故事》从中精选出100多封具有代表性的书信，确立10个相对集中的分集主题，每集讲述一组书信背后的故事。

信贵情，情贵真。在毛泽东风格各异、内涵丰富的书信中，充溢着博大而真挚的思想情感。《毛泽东书信故事》通过书信的这一独特视角，反映毛泽东的革命实践经历、思想发展过程以及中国革命波澜壮阔的历程；反映他的人际交往、政治智慧、领导艺术与崇高风范。深入挖掘背后故事，彰显出“书信”中所蕴含的思想体量和文化力量。 　　中共中央文献研究室编纂的《毛泽东书信选》中收录了毛泽东书信1500多封，还有200多封书信性质和形式的电报。《毛泽东书信故事》从中精选出100多封具有代表性的书信，确立10个相对集中的分集主题，每集讲述一组书信背后的故事。

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。