Tim, a shy 16-year-old athlete with a natural gift for running, is dealing with the loss of his mother, as well as his sexuality. After a personal video is posted to social media, Tim's private life is about to explode into the public eye.

A young couple Yulia and Vlad go to spend some quiet days on an island. Vlad is in his early thirties. He is kind and caring with Yulia. She suffers from a psychological trauma and partial memory loss. Complete isolation makes the young couple happy during the first days, however, very soon the girl notices some strange behavior of her boyfriend. Terrifying hallucinations and memories she can not explain overwhelm her Her trials to bring her memory back and find out the truth turn into struggle for life.

A young couple Yulia and Vlad go to spend some quiet days on an island. Vlad is in his early thirties. He is kind and caring with Yulia. She suffers from a psychological trauma and partial memory loss. Complete isolation makes the young couple happy during the first days, however, very soon the girl notices some strange behavior of her boyfriend. Terrifying hallucinations and memories she can not explain overwhelm her Her trials to bring her memory back and find out the truth turn into struggle for life.

影片把镜头对准13位拉丁爵士界的泰斗人物，除了采访，还跟踪他们到纽约曼哈顿54街的索尼录音棚（片名所指），完整记录下他们的精湛表演。这部音乐纪录片，系统梳理了拉丁爵士乐坛的当红人物，全片以现场演奏为主，当中穿插电影作者所思所想，可以说是一场爵士盛宴，让观赏者大饱眼福和耳福。本片曾获多个国际影展的纪录片大奖。 　　这是一首对拉丁爵士乐的赞美诗篇。有趣的是，导演将背景跟各位音乐家作了搭配，每人有自己的特定颜色，服装跟墙壁多用对比色。摄影以脸部、手脚和乐器的特写为主，镜头节奏呼应所演奏的音乐节奏。对拉丁爵士感兴趣的观众，可以从该片的DVD中找到关于每位乐手更详细的资料。

影片把镜头对准13位拉丁爵士界的泰斗人物，除了采访，还跟踪他们到纽约曼哈顿54街的索尼录音棚（片名所指），完整记录下他们的精湛表演。这部音乐纪录片，系统梳理了拉丁爵士乐坛的当红人物，全片以现场演奏为主，当中穿插电影作者所思所想，可以说是一场爵士盛宴，让观赏者大饱眼福和耳福。本片曾获多个国际影展的纪录片大奖。 　　这是一首对拉丁爵士乐的赞美诗篇。有趣的是，导演将背景跟各位音乐家作了搭配，每人有自己的特定颜色，服装跟墙壁多用对比色。摄影以脸部、手脚和乐器的特写为主，镜头节奏呼应所演奏的音乐节奏。对拉丁爵士感兴趣的观众，可以从该片的DVD中找到关于每位乐手更详细的资料。

在上世纪80年代库卡卡曾经为他的同乡好友兼导演创作过两个电影剧本，这部《一个人的生活》就是其中之一，个人感觉这部以情动人的悲喜剧并不像库卡卡自己的玩闹风格，毕竟不是他导的，影片的悲剧色彩很重，涉及到的题材比较严肃。IMDB上9.5的评分不知是怎么弄出来的，其实没必要那么高。4/5推荐。 　　A man's life falls apart after he quits his job at a sawmill, and subsequently kicks his wife and son out of the house. If Musa can only bring himself to stomach his work at the saw mill for a little longer, he will reach retirement age and will have a nice pension. However, a strike has brought home to him just how bad the wages and working conditions are, and he doesn't return after the strike is over. Meanwhile, his son has had no job for a long time but plays soccer all the time, when he is not wooing the girl who runs the newsstand at the train station. Musa is a bad-tempered fellow who quarrels often with his son. On one of these occasions, his wife throws both of them out of the house. Later she goes mad and then dies. Eventually, the son is arrested for a rape he didn't commit, but this doesn't stop the boy and his girlfriend from getting married, they just do it in jail. The father, left alone with his grudges and grievances, seems to collapse in on himself. This wonderful tragicomedy is wrote by Emir Kusturica.

在上世纪80年代库卡卡曾经为他的同乡好友兼导演创作过两个电影剧本，这部《一个人的生活》就是其中之一，个人感觉这部以情动人的悲喜剧并不像库卡卡自己的玩闹风格，毕竟不是他导的，影片的悲剧色彩很重，涉及到的题材比较严肃。IMDB上9.5的评分不知是怎么弄出来的，其实没必要那么高。4/5推荐。 　　A man's life falls apart after he quits his job at a sawmill, and subsequently kicks his wife and son out of the house. If Musa can only bring himself to stomach his work at the saw mill for a little longer, he will reach retirement age and will have a nice pension. However, a strike has brought home to him just how bad the wages and working conditions are, and he doesn't return after the strike is over. Meanwhile, his son has had no job for a long time but plays soccer all the time, when he is not wooing the girl who runs the newsstand at the train station. Musa is a bad-tempered fellow who quarrels often with his son. On one of these occasions, his wife throws both of them out of the house. Later she goes mad and then dies. Eventually, the son is arrested for a rape he didn't commit, but this doesn't stop the boy and his girlfriend from getting married, they just do it in jail. The father, left alone with his grudges and grievances, seems to collapse in on himself. This wonderful tragicomedy is wrote by Emir Kusturica.

叙利亚影史上最著名也是最具争议性的一部纪录片，由毫不妥协的叙利亚导演Omar Amiralay拍摄，也是他的代表作。影片被禁至今，奥马尔流亡海外直到30年后才得以回国拍摄他的第二部作品。本片获1976年柏林国际影展新电影论坛Otto Dibelius奖。 　　The first documentary to present an unabashed critique of the impact of the Syrian government's agricultural and land reforms, Everyday Life in a Syrian Village delivers a powerful jab at the state's conceit of redressing social and economic inequities. Interviews with farmers, health workers and a police officer contrast the peasants' regard for the state with the mindset of state representatives toward those peasants. Sa'adallah Wannus, a prominent Syrian playwright and essayist collaborated with documentary pioneer Amiralay on the project. The film remains banned in Syria. The original print has been restored and digitized very recently, and subtitled in English especially for this program. 　　Director Omar Amiralay was born in Damascus in 1944 to the son of a high-ranking officer in the Ottoman military and a Lebanese mother, Omar Amiralay headed to Paris in 1965 to pursue studies in drama and theater at the Théatre des Nations. Gradually he began to lean towards cinema and enrolled at the Institut des Hautes Etudes Cinematographiques, or IDHEC (now known as FEMIS) in 1967. He was deeply suspicious of fiction cinema, and after a year at the institute began to question whether film was really his vocation. When the 1968 student revolt erupted, Amiralay joined the hordes of protestors, and began to film. His fate was sealed; he never returned to the IDHEC and instead began to make documentary films. 　　He returned to Damascus eager to instigate a new documentary cinema. His best-known documentary film, conceived with Sa'adallah Wannus, one of Syria's most celebrated modernist playwrights and essayists, was radically different. Titled al-Hayat al-Yaomiyyah fi Qarya Suriyya (Everyday Life in a Syrian Village, 1974) it was a scathing critique of the government's failure to provide basic amenities to the poor. The film, produced by the General Organization for Cinema, was banned and remains so to this day. 　　From very early on, Amiralay's films earned a number of awards worldwide, beginning with Leipzig (1971) for Film-Essay on the Euphrates Dam. His cinema has become canon for generations of documentary filmmakers in the Arab world. The most recent edition of the Cinema du Reel festival at Paris' Centre Pompidou dedicated an hommage to his work in March 2006.

叙利亚影史上最著名也是最具争议性的一部纪录片，由毫不妥协的叙利亚导演Omar Amiralay拍摄，也是他的代表作。影片被禁至今，奥马尔流亡海外直到30年后才得以回国拍摄他的第二部作品。本片获1976年柏林国际影展新电影论坛Otto Dibelius奖。 　　The first documentary to present an unabashed critique of the impact of the Syrian government's agricultural and land reforms, Everyday Life in a Syrian Village delivers a powerful jab at the state's conceit of redressing social and economic inequities. Interviews with farmers, health workers and a police officer contrast the peasants' regard for the state with the mindset of state representatives toward those peasants. Sa'adallah Wannus, a prominent Syrian playwright and essayist collaborated with documentary pioneer Amiralay on the project. The film remains banned in Syria. The original print has been restored and digitized very recently, and subtitled in English especially for this program. 　　Director Omar Amiralay was born in Damascus in 1944 to the son of a high-ranking officer in the Ottoman military and a Lebanese mother, Omar Amiralay headed to Paris in 1965 to pursue studies in drama and theater at the Théatre des Nations. Gradually he began to lean towards cinema and enrolled at the Institut des Hautes Etudes Cinematographiques, or IDHEC (now known as FEMIS) in 1967. He was deeply suspicious of fiction cinema, and after a year at the institute began to question whether film was really his vocation. When the 1968 student revolt erupted, Amiralay joined the hordes of protestors, and began to film. His fate was sealed; he never returned to the IDHEC and instead began to make documentary films. 　　He returned to Damascus eager to instigate a new documentary cinema. His best-known documentary film, conceived with Sa'adallah Wannus, one of Syria's most celebrated modernist playwrights and essayists, was radically different. Titled al-Hayat al-Yaomiyyah fi Qarya Suriyya (Everyday Life in a Syrian Village, 1974) it was a scathing critique of the government's failure to provide basic amenities to the poor. The film, produced by the General Organization for Cinema, was banned and remains so to this day. 　　From very early on, Amiralay's films earned a number of awards worldwide, beginning with Leipzig (1971) for Film-Essay on the Euphrates Dam. His cinema has become canon for generations of documentary filmmakers in the Arab world. The most recent edition of the Cinema du Reel festival at Paris' Centre Pompidou dedicated an hommage to his work in March 2006.

马小东（张博 饰）打拼几年事业无起色，急于结婚的他拿二手钻戒向女友范欣（杨凯淳 饰）求婚，范欣提出唯一的结婚硬件——房子。小东东拼西凑凑够三十万首付，不料房子涨价，待他把钱留给范欣想再回老家凑钱时，范欣移情别恋，拿自己的钱买了房子，矢口否认拿过小东的钱。小东找范欣讨债，反被范欣诬陷为贼，并逼他签下青春损失赔偿费，三十万彻底打了水漂。人财两空的小东无颜见自己的父母，只好暂居在老同学梁诚实（郑恺 饰）家。梁美丽（关悦 饰）开着淘宝店，小东是梁家全天候的长工，什么活都要干。常言道：人穷志短，马瘦毛长。一次送快递，他见到当初跟自己抢首付买房的晓曦（贾青 饰），知道她的未婚夫李泉（罗熙 饰）成了范欣的现任丈夫......