《吐鲁番往事》以四集篇幅循着历史脉络展开叙事，分别讲述汉代西域长史班勇、唐朝僧人玄奘、边塞诗人岑参、清朝时期吐鲁番领袖额敏与吐鲁番这片土地的传奇故事，以及自新疆历史上首次设省以来湖南人与吐鲁番人延续至今的深厚情谊。

故事发生在吐鲁番地区一个农村，老村长哈里克（木拉丁·阿不力米提 Muradin Abulimit 饰）和他的妻子帕夏已经安享晚年。他们的家庭生活变得复杂而动人，故事主要围绕着他们的子女展开。他们的大女儿康巴尔汗（阿孜古丽·热西提 Arzugul Reshit 饰）已经34岁，但因为无法忘记昔日的恋人，拒绝了所有的婚事。这让父母为她的未来担忧不已。而小女儿阿娜尔汗则是一位聪明热情的导游，却不幸爱上了大姐康巴尔汗昔日的男友克里木，这使得家庭关系更加复杂。 　　此外，他们的儿子普拉提也面临爱情的问题。他爱上了邻村的阿拉木汗，但阿拉木汗的母亲却不同意他们的婚事，原因却是与哈里克和阿拉木汗的母亲早年之间的难解婚缘有关。整个吐鲁番的社区因此陷入了情感的错综复杂之中。康巴尔汗最终带着对爱情的向往离开了人世，而阿娜尔汗则在爱情和生活的历练中逐渐成长。

故事发生在吐鲁番地区一个农村，老村长哈里克（木拉丁·阿不力米提 Muradin Abulimit 饰）和他的妻子帕夏已经安享晚年。他们的家庭生活变得复杂而动人，故事主要围绕着他们的子女展开。他们的大女儿康巴尔汗（阿孜古丽·热西提 Arzugul Reshit 饰）已经34岁，但因为无法忘记昔日的恋人，拒绝了所有的婚事。这让父母为她的未来担忧不已。而小女儿阿娜尔汗则是一位聪明热情的导游，却不幸爱上了大姐康巴尔汗昔日的男友克里木，这使得家庭关系更加复杂。 　　此外，他们的儿子普拉提也面临爱情的问题。他爱上了邻村的阿拉木汗，但阿拉木汗的母亲却不同意他们的婚事，原因却是与哈里克和阿拉木汗的母亲早年之间的难解婚缘有关。整个吐鲁番的社区因此陷入了情感的错综复杂之中。康巴尔汗最终带着对爱情的向往离开了人世，而阿娜尔汗则在爱情和生活的历练中逐渐成长。

本片拍摄历时一年零三个月，创作于新疆吐鲁番地区火焰山旁的葡萄沟。记录了在政府的帮扶下，当地果农改善生活条件、提升耕种技能、加强爱国精神的过程。硕果累累的葡萄架不仅饱含着果农的汗水，也孕育着他们的美好生活。

本片拍摄历时一年零三个月，创作于新疆吐鲁番地区火焰山旁的葡萄沟。记录了在政府的帮扶下，当地果农改善生活条件、提升耕种技能、加强爱国精神的过程。硕果累累的葡萄架不仅饱含着果农的汗水，也孕育着他们的美好生活。

在Botelho的<想做美国总统的女人>(2003)和这部里选了很久,最后决定选这部成名作,其实两部都很幽默,他是葡萄牙当代最好的超现实喜剧片导演. 　　Maybe the best Portuguese movie ever done, "Tráfico" is a sad, sad portrait of the modern Portugal and (if there is such a thing, since Portuguese mentality seems have not changed in 800 years), in spite of its sarcastic, even surrealistic mood, a very dark and dejected film, at least for Portuguese viewers. Very funny too (yet,with a kind of humor whose nuances risks sometimes to escape unnoticed by foreign ears), with some of the more sharp-witted sayings and situations I ever saw in cinema. The dialogue with the Portuguese culture it's ever present, making of it a movie that just can be fully understood by an autochton. Notwithstanding - don't miss this masterpiece.

在Botelho的<想做美国总统的女人>(2003)和这部里选了很久,最后决定选这部成名作,其实两部都很幽默,他是葡萄牙当代最好的超现实喜剧片导演. 　　Maybe the best Portuguese movie ever done, "Tráfico" is a sad, sad portrait of the modern Portugal and (if there is such a thing, since Portuguese mentality seems have not changed in 800 years), in spite of its sarcastic, even surrealistic mood, a very dark and dejected film, at least for Portuguese viewers. Very funny too (yet,with a kind of humor whose nuances risks sometimes to escape unnoticed by foreign ears), with some of the more sharp-witted sayings and situations I ever saw in cinema. The dialogue with the Portuguese culture it's ever present, making of it a movie that just can be fully understood by an autochton. Notwithstanding - don't miss this masterpiece.

Due to some common interests between German and Russian aristocracy ( the Russians even had aristocrats in their past not to mention they had an Empress called Catherine the Great, as great as this German count's heiresses… ), it is not strange that this Teutonic count has understood and even enjoyed Herr S. M. Eisenstein's "Staroye I Novoye". 　　It is not very usual that for the aristocracy to enjoy Bolshevist films full of proletarian demands that put private property at risk or as it happens in this case, a film about the Communist Party's policy on the subject of the collectivization of the Soviet agriculture. Normally this would be perfect gibberish for this German count, but thanks to Herr Eisenstein 's greatness and directorial talent, the hardships of the heroine of the film, Dame Marfa ( Dame Marfa Lapkina ) breached even the thick aristocratic Schloss walls. 　　And that's one of the first remarkable aspects of this oeuvre; in spite of the political subject of the film, the powerful images and lyricism ( astonishing and beautiful shot compositions ), especially during the first part of the movie, preserve the artistic merits entirely while serving a propaganda purpose. The second remarkable aspect of the film is the dichotomy between the old and new, the fight to improve the lot of Dame Marfa and her countrymen. There are many discussions because it is not easy even in Russia to change ancient and conservative customs. There are superb metaphors and social criticism ( illiteracy, bureaucracy, religiosity ) which perfectly fit the film, and last but not least, "Staroye I Novoye", is a kind of archaic documentary about ancient customs established deeply in old Russia, those ones that our heroine must fight against. And there is also a lot about agriculture ( very enlightening for this German count), especially about harvesting and how to fatten Russian cows or pigs ( literally, no pun here… ). 　　Herr Eisenstein had to bear during the last era of his film career, unbelievable censorship and mutilation of his work, as happens with "Staroye I Novoye". The film was reedited and Eisenstein accused of sympathizing with Trostky's policies but fortunately the film was restored and showed by the German-frenchified t.v. channel "ARTE", natürlich!, including an evocative music score by Herr Taras Bujewski, that fits superbly Herr Eisenstein primal artistic interests. 　　And now, if you'll allow me, I must temporarily take my leave because this German Count must buy a tractor for one of his Teutonic heiress.