令全世界为之疯狂的歌姬·乌塔。她的身世成谜，歌声却被誉为“来自别的次元”。而这次，她将举办演唱会并第一次露出庐山真面目。为了欣赏她的歌声，…

令全世界为之疯狂的歌姬·乌塔。　　她的身世成谜，歌声却被誉为“来自别的次元”。　　而这次，她将举办演唱会并第一次露出庐山真面目。为了欣赏她的歌声，路飞率领的草帽一伙，以及各路海盗、海军、世界各地的歌迷都汇聚在会场之中。　　全世界备受瞩目的歌声即将在此回荡。　　而故事就在UTA是“杰克斯的女儿”这一令人震惊的发现中拉开帷幕！

20世纪50年代衣食丰足的乡村家庭。家中最小的男孩由于一头红发，脸上布满雀斑，被母亲取了“胡萝卜须”的小名。胡萝卜须本是个纯良的孩子，他努力亲近父母，渴望爱抚。然而母亲因偏爱他的哥哥和姐姐而歧视他，对他冷峻刻薄，他很想知道母亲的身体，终于在偷看母亲洗澡的时候跌落而摔破了头。

Julien Duvivier最好的作品之一也是他认为自己所有默片中最喜欢的一部。 　　Summary 　　Bullied by his matriarchal mother, abused by his siblings, ignored by his father, Poil de Carotte's childhood is as miserable as it could be. An illegitimate child, he is the main reason for the enmity which exists between his parents, who continue to live together just to keep up appearances. In the end, Poil de Carotte's suffering becomes more than he can bear... 　　Review 　　Drawing heavily on the poignant novel by Jules Renard on which it is based, Poil de carotte is a modest yet appealing film which has stood the test of time mainly because of the quality of its acting performances and its inherent humanity. It is more memorable than Julien Duvivier's earlier silent version of 1925, also named Poil de Carotte. 　　The part of Poil de Carotte was played by 11 year old Robert Lynen, who was alleged to have been discovered whilst walking down the Champs-Elysées in Paris. Lynen is totally captivating and the film made him an instant star, launching what looked like becoming a very promising film career – until he was shot dead whilst fighting against the Germans in 1944. Harry Baur, a legendary stage and film actor (who also died during World War II, allegedly at the hands of the Gestapo), also turns in a typically fine performance. The reconciliation between father and son at the end of the film provides its most enduring image, enough to melt the heart of all but the most stoical of spectators. 　　http://www.dvdbeaver.com/film2/DVDReviews36/poil_de_carotte.htm 　　http://frenchfilms.topcities.com/nf_Poil_de_carotte_rev.html

20世纪50年代衣食丰足的乡村家庭。家中最小的男孩由于一头红发，脸上布满雀斑，被母亲取了“胡萝卜须”的小名。胡萝卜须本是个纯良的孩子，他努力亲近父母，渴望爱抚。然而母亲因偏爱他的哥哥和姐姐而歧视他，对他冷峻刻薄，他很想知道母亲的身体，终于在偷看母亲洗澡的时候跌落而摔破了头。

Julien Duvivier最好的作品之一也是他认为自己所有默片中最喜欢的一部。 　　Summary 　　Bullied by his matriarchal mother, abused by his siblings, ignored by his father, Poil de Carotte's childhood is as miserable as it could be. An illegitimate child, he is the main reason for the enmity which exists between his parents, who continue to live together just to keep up appearances. In the end, Poil de Carotte's suffering becomes more than he can bear... 　　Review 　　Drawing heavily on the poignant novel by Jules Renard on which it is based, Poil de carotte is a modest yet appealing film which has stood the test of time mainly because of the quality of its acting performances and its inherent humanity. It is more memorable than Julien Duvivier's earlier silent version of 1925, also named Poil de Carotte. 　　The part of Poil de Carotte was played by 11 year old Robert Lynen, who was alleged to have been discovered whilst walking down the Champs-Elysées in Paris. Lynen is totally captivating and the film made him an instant star, launching what looked like becoming a very promising film career – until he was shot dead whilst fighting against the Germans in 1944. Harry Baur, a legendary stage and film actor (who also died during World War II, allegedly at the hands of the Gestapo), also turns in a typically fine performance. The reconciliation between father and son at the end of the film provides its most enduring image, enough to melt the heart of all but the most stoical of spectators. 　　http://www.dvdbeaver.com/film2/DVDReviews36/poil_de_carotte.htm 　　http://frenchfilms.topcities.com/nf_Poil_de_carotte_rev.html

小泉旭（长濑智也 饰）的母亲清川樱是著名的歌手，长久生活在母亲的盛名之下，小泉对母亲有着超越了正常范围的依赖，个性也唯唯诺诺毫无主见。某日，母亲找到了小泉，宣布了自己决定隐退的消息，母亲将父亲的怀表交给了小泉，让小泉前往高知县的土佐清水市猎户座电影院，在那里，即将放映一部名为《歌姬》的电影，这也是这间电影院倒闭前放映的最后一部电影。 　　来到了电影院，小泉得到了一本电影宣传册，让他没有想到的是，这本宣传册竟然将他带回了他的祖父四万十太郎（长濑智也 饰）所生活的那个年代。这一场奇妙的时空旅行彻底改变了小泉的一生。

本剧以战后经济腾飞的日本为背景，围绕在战争中身心俱损的上个世纪50年代男人展开剧情。出场人物都是充满热烈梦想，努力生存、恋爱，并为实现梦想…

“I would like to propose a film that contributes to the concept of work. That compares the work of a traditional society, like in Africa, in an early industrial society such as India, and in a highly developed industrial society, in Europe or Japan. The object of comparison is to be the work in building houses. Houses to live in.” 　　This was written in Harun Farocki’s exposé from 2003 for a documentary project. “After initial research (...) I had the idea of using the brick, its manufacture and its processing as the object of comparison, explains Farocki. “We were looking for a great variety of uses for bricks – and we were looking for manufacturing processes that would possibly do away with bricks.” In India he filmed a brickworks whose threading machine was from the 1930s when Gandhi was organizing the anti-colonialist protest. The installation in northern France was operated by Moroccans who housed in barracks like POWs or forced labourers. In Mumbai apartment houses were built much like they are in Europe. No hand touched the products that came out of the highly mechanized factories in Germany. In Burkina Faso Farocki followed the communal work on a hospital ward and a school building with his camera: “I’ve never in my life been able to observed such a strange process so closely.” 　　The film does without commentary; there are only indications of the places and a few explanations offered in subtitles.

“I would like to propose a film that contributes to the concept of work. That compares the work of a traditional society, like in Africa, in an early industrial society such as India, and in a highly developed industrial society, in Europe or Japan. The object of comparison is to be the work in building houses. Houses to live in.” 　　This was written in Harun Farocki’s exposé from 2003 for a documentary project. “After initial research (...) I had the idea of using the brick, its manufacture and its processing as the object of comparison, explains Farocki. “We were looking for a great variety of uses for bricks – and we were looking for manufacturing processes that would possibly do away with bricks.” In India he filmed a brickworks whose threading machine was from the 1930s when Gandhi was organizing the anti-colonialist protest. The installation in northern France was operated by Moroccans who housed in barracks like POWs or forced labourers. In Mumbai apartment houses were built much like they are in Europe. No hand touched the products that came out of the highly mechanized factories in Germany. In Burkina Faso Farocki followed the communal work on a hospital ward and a school building with his camera: “I’ve never in my life been able to observed such a strange process so closely.” 　　The film does without commentary; there are only indications of the places and a few explanations offered in subtitles.