长期在外的军人赛回到家乡参加女儿的婚礼。婚礼上欢快的场面让他想起了当年的自己：那时他刚刚12岁，新娘图伊特18岁。图伊特是小妾的女儿，没有什么文化，赛对这个父母硬塞给他的妻子厌恶至极。尽管图伊特竭尽全力想要得到丈夫的爱，但这场带有包办性质的婚姻从一开始就注定是场失败。为了逃避图伊特，赛参了军，并且爱上了另一个女孩，最终选择了离开家乡。 多年以后，在女儿的婚礼上，再一次站在赛身旁的图伊特，泪如泉涌……

长期在外的军人赛回到家乡参加女儿的婚礼。婚礼上欢快的场面让他想起了当年的自己：那时他刚刚12岁，新娘图伊特18岁。图伊特是小妾的女儿，没有什么文化，赛对这个父母硬塞给他的妻子厌恶至极。尽管图伊特竭尽全力想要得到丈夫的爱，但这场带有包办性质的婚姻从一开始就注定是场失败。为了逃避图伊特，赛参了军，并且爱上了另一个女孩，最终选择了离开家乡。 多年以后，在女儿的婚礼上，再一次站在赛身旁的图伊特，泪如泉涌。

五六十年代，父辈们生活在苦难岁月中，有着诸多恩恩怨怨与无奈，但仍努力生存。人生恰似一壶老酒，有香甜也有苦涩，让人不禁思索这一生究竟为何而活。那时，有着压抑的苦恋，明明心中有爱，却只能默默看着，不敢大声表达。不过，新一代人打破了传统。苦柳最终与常友德离婚，开启了属于自己的人生新征程，她选择自己创业、自我救赎，给下一代带来了希望。本片是中国改革首部农村电视剧，与《篱笆女人和狗》《金鸡沟的变迁》《神禾塬》并称90年代当年农村电视剧三部曲，是其中最经典的一部。

讲述了人类饮食习惯的改变过程，食物大批量生产所带来的一系列后果，以及肥胖与瘦弱的根源是什么，其中，一定有你想象不到的结论。

A masterwork of Sri Lankan cinema, this moving saga of family and class conflict was made by Lester James Peries, his country’s foremost filmmaker and a director much admired by India’s Satyajit Ray. Gamperaliya is regarded as a cornerstone of Sri Lankan cinema, launching upon its release in 1964 ‘a revolution, not only in the way films were made, but also in the content,’ according to producer Anton Wickramasinghe. Peries sought an alternative to the Bollywood-influenced melodramas that dominated Sri Lanka’s commercial cinema, writing stories that looked at the staple issues of melodrama in a more nuanced way. The film, adapted from a novel by Martin Wickramasinghe, focuses on Piyal, a teacher and member of the new rising middle class, who falls in love with the daughter of his village’s leading aristocratic clan; the girl’s parents insist upon a marriage to a stuffed shirt of her own class, one that shifting social forces are already rendering obsolete. Gamperaliya is filmed in an elegant and uncoercive narrative style that has been compared to Satyajit Ray’s Apu Trilogy; its aesthetic choices also have a moral dimension: at every level, this is a movie about the importance of setting aside illusion and exaggeration and seeing things as they are.

一部关于戏园子在时代变迁背景下的大变迁。

Moshe Ivgy is Yutz, a frustrated poet past his prime, who with his aging bohemian friends frequent Café Braun run by Leah a sympathetic mother figure who has kept the place going for over 30 years. The café was once a home to artists and intellectuals, now it is a haven for oddballs and outcasts including: a violent Arab painter fresh out of an insane asylum, an alcoholic mama’s boy who stutters, a macho heartbroken musician and an outcast Belgian immigrant photographer. The landlord puts the squeeze on Leah and threatens to demolish the building. Through a bizarre chain of events, Yutz and his friends band together to save the café and in turn save themselves. An off beat comedy about people struggling to maintain their sanity in an insane reality

1984年中央新闻纪录电影制片厂摄制（今日中国8406号）。这是中国北方一个普通的村庄，位于天津市以南约五十公里的地方。相传五百年前有两个姓邱的农民流落到这里定居下来，故而得名大邱庄。

本片讲述了20世纪80年代的少年金向东的少年故事，伴随着知青年代的特殊情感，通过一群小人物从解决温饱到长大成才，以为特定年代的一些单元故事，将知青时代发展浪潮的关键节点一一还原，以小见大地展现出改革开放的变迁史。