We Feed People spotlights renowned chef José Andrés and his nonprofit World Central Kitchen’s incredible mission and evolution over 12 years from being a scrappy group of grassroots volunteers to becoming one of the most highly regarded humanitarian aid organizations in the disaster relief sector.

母慈，子不孝：宋涛为了陪自己丈母娘逛街，把痴呆母亲放在车里，母亲因为车内炎热缺氧昏迷，妹妹拼命寻找，可是哥哥却觉得妹妹小题大作，最终害的母亲在车间暴晒致死。

《慈海鹊桥会》节目由中国社会福利基金会志愿者发展基金和中国农业电影电视中心共同发起，著名主持人肖东坡主持，旨在通过创新性公益模式，搭建老龄群体展示及交友平台，呼吁全社会尊敬老人、关爱老人，让老年人有一个幸福美满的晚年，贯彻落实从“老龄”到“乐龄”的社会理念。

《慈海鹊桥会》节目由中国社会福利基金会志愿者发展基金和中国农业电影电视中心共同发起，著名主持人肖东坡主持，旨在通过创新性公益模式，搭建老龄群体展示及交友平台，呼吁全社会尊敬老人、关爱老人，让老年人有一个幸福美满的晚年，贯彻落实从“老龄”到“乐龄”的社会理念。

与国内目前常见的公安题材影视剧不同的是，《探长欧光慈》是眼下非常少见的悬疑、推理侦探剧。全剧通过《红樱桃之谜》、《电梯谋杀案》、《新娘之死》等10个独立成章的侦破案组成，通过起伏跌宕、疑云重重的情节设置，表现了探长欧光慈和他的伙伴利用独到而严谨的逻辑分析，从细节入手，抽丝剥茧揭开谜团的过程，塑造了睿智而又细心的全新公安人员形象。随着剧情的深入，观众会不知不觉被编导带入一个精心设计的迷宫，而剧中所写案件都是发生在我们生活的中间，观众可以运用自己的经验和推理判断能力与剧中人来一番智力的大比拼，犹如进行一次惊险刺激而又妙趣横生的智力旅行。

与国内目前常见的公安题材影视剧不同的是，《探长欧光慈》是眼下非常少见的悬疑、推理侦探剧。全剧通过《红樱桃之谜》、《电梯谋杀案》、《新娘之死》等10个独立成章的侦破案组成，通过起伏跌宕、疑云重重的情节设置，表现了探长欧光慈和他的伙伴利用独到而严谨的逻辑分析，从细节入手，抽丝剥茧揭开谜团的过程，塑造了睿智而又细心的全新公安人员形象。随着剧情的深入，观众会不知不觉被编导带入一个精心设计的迷宫，而剧中所写案件都是发生在我们生活的中间，观众可以运用自己的经验和推理判断能力与剧中人来一番智力的大比拼，犹如进行一次惊险刺激而又妙趣横生的智力旅行。

前朝太后沈明昭穿越成为现代豪门真千金，与冷面总裁顾承衍契约婚姻，接受了他大哥留下的两个熊孩子。她以治六宫的手段治家，教授两个孩子礼仪，逐渐收服孩子们。而假千金沈映月为了与沈明昭争夺家产和男人，一边讨好熊孩子，一边博同情，疯狂打压污蔑沈明昭，只是最后都被沈明昭凭实力反击，最终沈映月自食恶果。

A fable about the Goddess Mari and her two sons, born of a mortal father, whom she entrusts to the devil for their education. Mikelats decides to stay with his master but Atarrabi flees—but the devil manages to hold onto his shadow.

A fable about the Goddess Mari and her two sons, born of a mortal father, whom she entrusts to the devil for their education. Mikelats decides to stay with his master but Atarrabi flees—but the devil manages to hold onto his shadow.

A famous docking: Algiers, the White City, in a radiant light. The picture darkens with a voice-over reading of the text of the surrender of the Dey of Algiers in 1830. About the Conquest confronts us with a page of the French national novel that was too hastily turned. Franssou Prenant audaciously gathers a community of complicit voices who read a succession of archives (reports, testimonies, memoirs, historical, geographical, and urbanistic considerations) in a matter-of- fact tone. Recounting the stages of France’s colonisation of Algeria between 1830 and 1848, they outline the ideological landscape of a staggering annihilation effort. The film could just as well have been entitled About Destruction. Franssou Prenant thus constructs a memorial with a technique common to History and cinema: montage. A montage of texts: the words of Victor Hugo, Ernest Renan, Tocqueville are interwoven with those of military men, senior officials, brigadiers, without any way of distinguishing the authors. Then, a montage of images through which yesterday’s acts of violence and dispossession echo in the present: in contrast to an account of murders, the film presents a desolate desert landscape or the frank and innocent smiles of teenagers. The promises of riches offered by colonized Algeria are accompanied by shots of an opulent, Haussmann-style Parisian city centre. We are plunged into a reflection on the nature of this extraordinary violence, through a pictorial meandering into contemporary Algeria, entwined with archival extracts heard in an interplay of convergence and divergence. The piling up of texts brings to light both the ethnocentric and racist imaginary and the cold logic of economic exploitation that dictated the colonization of Algeria and its irreversible consequences, from which Algerian society still suffers today. 　　源自：https://fidmarseille.org/en/film/de-la-conquete-about-the-conquest/