Two thousand years ago, at the dawn of the first century, the ancient world was ruled by Rome. Through the experiences, memories and writings of the people who lived it, this series tells the story of that time -- the emperors and slaves, poets and plebeians, who wrested order from chaos, built the most cosmopolitan society the world had ever seen and shaped the Roman empire in the first century A.D.

Two thousand years ago, at the dawn of the first century, the ancient world was ruled by Rome. Through the experiences, memories and writings of the people who lived it, this series tells the story of that time -- the emperors and slaves, poets and plebeians, who wrested order from chaos, built the most cosmopolitan society the world had ever seen and shaped the Roman empire in the first century A.D.

当乔的妻子外出接受可疑的整形手术时，他发现自己胸口长出了一根奇怪的触手。发现一种具有治疗功效的奇异寄生植物抵消了一系列奇怪的事件

当乔的妻子外出接受可疑的整形手术时，他发现自己胸口长出了一根奇怪的触手。发现一种具有治疗功效的奇异寄生植物抵消了一系列奇怪的事件

小杏（广末凉子 饰）自由便失去了父亲的关爱，和母亲一起过着相依为命的生活。幸运的是，小杏的母亲是一位十分坚强的女性，身为女性杂志编辑的她，从小就给小杏灌输着要自强自立的观念。 　　在母亲的影响下，小杏加入了学校的广播社团，并且制作了自己的节目“樱木新闻”。每天午饭时间，校园上空都会响起小杏亲切的声音，播报着学校周边发生的大大小小的事件。一场意外让小杏想起了一位名叫阿彻（圆岛努 饰）的少年，曾经，两人许下约定要一起拍一部电影。在老师的鼓励下，小杏决定兑现这一约定，她找到了曾经拍摄过的录音带，想要通过剪辑和拼接来完成她人生中的第一支纪录片。

Commissioned by the heads of the 2000 Cannes Film Festival to make an opening-night short commemorating cinema as it enters its second full century, Godard instead offers up a 17-minute barrage of re-edited footage of wars and Nazi atrocities, interspersed with clips of Maurice Chevalier in "Gigi" and Godard's own "À bout de souffle."

Commissioned by the heads of the 2000 Cannes Film Festival to make an opening-night short commemorating cinema as it enters its second full century, Godard instead offers up a 17-minute barrage of re-edited footage of wars and Nazi atrocities, interspersed with clips of Maurice Chevalier in "Gigi" and Godard's own "À bout de souffle."

The panoramic shots are breathtaking: a majestic mountain landscape in winter, flat-roofed tin shacks cowering next to one other, women perched on steep slopes using primitive tools to break through pieces of rock. La Rinconada is situated over 5,000 meters high in the Peruvian Andes, on the edge of a gold mine. This 21st century El Dorado is an inhospitable place, where untold numbers of people live and work in the most precarious of conditions, hoping both for gold and a better life. Salomé Lamas has constructed a cinematic diptych to convey the extremity of this situation and the dimensions of its misery without having to resort to graphic images. While an hour-long single take from a fixed camera position shows an endless stream of mine workers trudging up and down a garbage-lined path day and night, voiceovers speak of cold, hunger, poverty, danger to life and limb, atrocities and lawlessness. The second half of the film then places haunting observations of something like the normal and the everyday alongside all this: chitchat while chewing coca leaves, rituals and social gatherings with music and dancing. It’s only then that the true eeriness of the setting comes to light. berlinale 2016