《中美外交档案解密》是上海电视台纪实频道《档案》栏目2012年5月首播的系列纪录片，全面曝光了中美两国外交档案，揭开中美两大国之间的纷争谜团，再现大国领袖风云际会。 　　两代中国领导人的深谋远虑，三届美国政府的决策接力，一场跨越大洋的政治交锋，一段震撼世界的外交历程，战争与和平，分歧与合作，揭开尘封的档案，穿越时空，回望中美三十年的激荡岁月。

中美建交30年以来，向台湾售武的问题一直困扰着两国政府，美国至今也不愿意放弃他们对台湾的承诺，而中国方面对此的抗议，也从来没有停止过。中美之间的这个难题，在1978年也曾经困扰着那时候的中美领导人，甚至成为了决定两国是否能够建交的关键，双方当时到底是以一种什么样的态度，去冲破谈判中的一个个难题，最终达成建交的呢，中国又是出于什么样的考虑，最终同意在这个问题上让步的呢。

陈惠惠是含着金汤匙出生的千金大小姐，父母一手打点好了她的终身大事，这让陈惠惠感到十分愤怒。为了反抗父母之命，陈惠惠选择了离家出走，前往上海，在那里，隐藏着她的爷爷和奶奶之间的一段动人的感情。 途中，陈惠惠结识了名叫陈大宝的青年。陈大宝和朋友阿土共同发明了能增强手机信号的机器，他希望能凭借此发明申请到专利，在上海拼搏出一片属于自己的天空。谁知道，陈惠惠和陈大宝刚一来到上海就双双遭遇了滑铁卢，陈惠惠丢掉了现金和信用卡，陈大宝的发明让他血本无归。走投无路的两人相依为命，准备去投奔陈大宝的朋友小康。

陈惠惠是含着金汤匙出生的千金大小姐，父母一手打点好了她的终身大事，这让陈惠惠感到十分愤怒。为了反抗父母之命，陈惠惠选择了离家出走，前往上海，在那里，隐藏着她的爷爷和奶奶之间的一段动人的感情。 途中，陈惠惠结识了名叫陈大宝的青年。陈大宝和朋友阿土共同发明了能增强手机信号的机器，他希望能凭借此发明申请到专利，在上海拼搏出一片属于自己的天空。谁知道，陈惠惠和陈大宝刚一来到上海就双双遭遇了滑铁卢，陈惠惠丢掉了现金和信用卡，陈大宝的发明让他血本无归。走投无路的两人相依为命，准备去投奔陈大宝的朋友小康。

Seb 要向女儿 Emma 宣布一个痛苦的消息——他和她母亲即将离婚。无奈之下，他只能说出真相：他喜欢男人。这消息对 Emma 而言如晴天霹雳，质疑与困惑瞬间涌上心头。为了让女儿理解自己，Seb 带着她回到了 2000 年。就在那一年，一场刻骨铭心的青涩恋爱，彻底改变了他的人生轨迹。

当 Seb 向女儿 Emma 宣布他和她母亲将要离婚这一痛苦的消息时，他不得不道出真相：他喜欢男人。这个消息对 Emma 来说犹如晴天霹雳，质疑与不解接踵而至。为了让女儿能够理解，他带着女儿回到了 2000 年，那一年，一段刻骨铭心的青涩恋情，彻底改变了他的人生。

エステティシャンの雅美(佐々波綾)は2年前、故郷の専門学校を卒業すると、先に上京していた恋人の直紀(太田望)の元に転がり込み、同棲を始めた。だが、マンネリな暮らしでセックスレスとなってしまった直紀に愛想を尽かし、別れようと家を出たのだった。そんな雅美は、東京の下町で夫と喫茶店を営む叔母の美紗(美泉咲)を訪ね、暫らく居候させて欲しいと願いでる。天真爛漫な雅美の願いを、面倒見の良い美紗は快く受け入れた。しかし、夫の卓也(竹本泰志)は大反対だった。店舗の2階にある自宅は寝室がひと間しかなく、こんな歳若い娘が寝起きするには無理があると…。だが、行く当てのない姪を追い返すわけにもいかず渋々受け入れる卓也であったが、その晩から奇妙な「川の字」での暮らしに眠れない夜が始まるのであった。

エステティシャンの雅美(佐々波綾)は2年前、故郷の専門学校を卒業すると、先に上京していた恋人の直紀(太田望)の元に転がり込み、同棲を始めた。だが、マンネリな暮らしでセックスレスとなってしまった直紀に愛想を尽かし、別れようと家を出たのだった。そんな雅美は、東京の下町で夫と喫茶店を営む叔母の美紗(美泉咲)を訪ね、暫らく居候させて欲しいと願いでる。天真爛漫な雅美の願いを、面倒見の良い美紗は快く受け入れた。しかし、夫の卓也(竹本泰志)は大反対だった。店舗の2階にある自宅は寝室がひと間しかなく、こんな歳若い娘が寝起きするには無理があると…。だが、行く当てのない姪を追い返すわけにもいかず渋々受け入れる卓也であったが、その晩から奇妙な「川の字」での暮らしに眠れない夜が始まるのであった。

A newly married woman leaves her wealthy husband for a lover who mysteriously disappears. Things start to unravel and become life-threatening on a trip to the husband’s family estate.

This is not the end of the Cocteau story, of course, for as we have constantly witnessed, he is always oriented towards the future due to his undimmed faith in the creative act, and none more so than in the medium of film. Indeed, he was even more advanced in his preparations for death and the after-life of his work than originally thought. 　　Just a couple of months before his death, in August 1963, he made one last film: a 25-minute short entitled Jean Cocteau s’adresse à l’an 2000 (Cocteau addresses the year 2000). The film comprises one still and highly sober shot of Cocteau facing the camera head-on to address the youth of the future. Once recorded, this spoken message for the 21st century was wrapped up, sealed and posted on the understanding that it would be opened only in the year 2000 (as it turned out, it was discovered and exhumed a few years shy of that date). If in The Testament Cocteau portrays himself as a living anachronism, a lonesome classical modernist loitering in space-time in the same buckskin jacket and tie while lost in the spectral light of his memories, here he acknowledges explicitly the irony of his phantom-like state: by the time the viewer sees this image, he, J. C., our saviour Poet, will long be dead. 　　Temporality is typically skewed: speaking from both 1963 and 2000 Cocteau is at once nostalgic for the present that will have passed and prophetic about the future. There is thus both a documentary aspect and projective thrust to the film, another new configuration of ‘superior realism’ and fantasy enhanced by Cocteau’s seamless performance as himself and his now ‘immortal’ status as a member of the Académie Française. He reiterates some of his long-standing artistic themes and principles: death is a form of life; poetry is beyond time and a kind of superior mathematics; we are all a procession of others who inhabit us; errors are the true expression of an individual, and so on. The tone is at once speculative and uncompromising, as when Cocteau pours vitriolic scorn on the many awards bestowed upon him, which he calls ‘transcendent punishments’. He also revels in the fact that he can say now what he likes with absolute freedom and impunity since he will not be around to suffer the consequences. 　　The status of Jean Cocteau s’adresse à l’an 2000 remains ultimately unclear. Is it a new testament or confession, or a heroic demonstration of the need for human endurance, or a pure ‘farce of anti-gravitation’ as he puts it? Or everything at once? It is entirely characteristic of Cocteau to leave us hanging on this suspended paradox. What is certain, however, and what we have consistently seen, is that Cocteau’s life and body are his work, and his work in turn is always mysteriously alive. This is Cocteau’s final gift to his fellow human beings. Let us retain and celebrate the force of that gesture. He is resurrected before our eyes, ever-present, defiant and joyfully queer. 　　Jean Cocteau is dead, long live Cocteau! 　　(James S. Williams)