上世纪50年代，女主角林波儿随养母到香港艰难营生。但她坚持传承南音，在闽南侨胞的帮助下一举成名，被东南亚影迷誉为“一代旦后”的传奇故事。

上世纪50年代，女主角林波儿随养母到香港艰难营生。但她坚持传承南音，在闽南侨胞的帮助下一举成名，被东南亚影迷誉为“一代旦后”的传奇故事。

Saratan is a film made in 2005 by the Kyrgyz director Ernest Abdyjaparov, with financial assistance from Germany, and distributed in the West by a German company. 　　The film was made more than ten years after the demise of the Soviet Union - when the various socialist republics suddenly found themselves with unexpected independence – which brought with it an economic malaise following the withdrawal of Moscow’s subsidies, and an ideological vacuum which together left Kyrgyzstan and its neighbouring Central Asian republics facing economic hardships and social upheavals. 　　It centers on the lives of people in one small Kyrgyz village, a snapshot of life with happy and sad elements side by side. It can also be seen, however, as providing a comment on the country’s history, society and culture in the period following independence, “where the average citizen is struggling with a sheer insurmountable number of difficulties.” 　　Fourteen years into independence, there are several things that just don’t seem to work in this small Kyrgyz village: the farms are not working; the people are poor without prospects for a better future although a few “rich” people have benefited – to the disadvantage of the average villager, employment is virtually non-existant and the little money that is earned is, all too often, spent on vodka. 　　More than 40 characters populate the film and provide a kaleidoscope of personal stories and relationships. Amongst them are: drunkards, thieves, philanderers, hypocrites, adulterers, layabouts, a malicious jester, a shaman, a cheating wife, a mullah who oversleeps and has to rush to conduct morning prayers in which no-one seems to take an interest, a traffic policeman directing non-existent rush-hour traffic in the village square, the local mayor struggling to cope with an apathetic community in which seems to take him seriously, a Jehovah’s Witness missionary who finds an avid in the Communist die-hard as they share a prison cell, a cattle thief and his family who utter an Islamic prayer fused with nomadic gestures when slaughtering a stolen lamb 　　The “heroes” of the film, however, are the “Kyrgyz people” – who, despite the trials and tribulations of everyday life in a depressed economy, nevertheless manage to overcome them and find ways to cope with the apparent hopelessness of their situation. 　　Two phrases used by reviewers in describing it are: ”a happy-sad snapshot” and “tragicomic tales of politics, tradition, modernity, pride and honour”. The humour is underlined by a elements of satire, cynicism, self-mockery, a sense of absurdity and occasional moments of “slapstick”. 　　It was made on a small budget – just USD120,000 – and has been shown in a number of film festivals in Berlin, California, Cardiff, London and Marakesh – where it was the “Golden Star” prize, and in Russia where it has also won prizes. 　　Abdyjaparov says: “As far as context is concerned, this film is about difficulties of Kyrgyzstan for the last 10 years after it became independent from the Soviet Union. I showed it [the history of Kyrgyzstan] through a small Kyrgyz village, its history, people, social, economic and even philosophical issues and developments. I tried to show the whole country’s fate by showing one village,” .

相传盘古开天后，为稳定空间，鸿钧老祖取天地阴阳二气，以乾坤之力炼化成玄天神剑。立于九天之巅，护天下苍生。 一日东皇太一和妖皇帝俊在天界激战，无意中惊扰了正在修炼的玄天神剑，剑身和剑鞘被太一和帝俊聚合的灵力打落凡尘。剑身降生在邢襄镇周府，成了周府公子周乾，失去了记忆和灵力。剑鞘则带着记忆和残缺的灵力落入桃花林，因济世救人被人称为桃花仙子。东皇太一将妖皇帝俊重伤，妖皇帝俊在逃往人间之时无意发现剑身转落凡尘，欲掌控玄天神剑，继而灭了周家满门。周乾不断修炼法力走上了复仇的道路，在降妖除魔的过程中结识了除妖师凌儿与之结伴。后终于遇到了命定的缘分桃花，最终在三人的努力下，打败了妖皇帝俊，保护了人间安危。

相传盘古开天后，为稳定空间，鸿钧老祖取天地阴阳二气，以乾坤之力炼化成玄天神剑。立于九天之巅，护天下苍生。 一日东皇太一和妖皇帝俊在天界激战，无意中惊扰了正在修炼的玄天神剑，剑身和剑鞘被太一和帝俊聚合的灵力打落凡尘。剑身降生在邢襄镇周府，成了周府公子周乾，失去了记忆和灵力。剑鞘则带着记忆和残缺的灵力落入桃花林，因济世救人被人称为桃花仙子。东皇太一将妖皇帝俊重伤，妖皇帝俊在逃往人间之时无意发现剑身转落凡尘，欲掌控玄天神剑，继而灭了周家满门。周乾不断修炼法力走上了复仇的道路，在降妖除魔的过程中结识了除妖师凌儿与之结伴。后终于遇到了命定的缘分桃花，最终在三人的努力下，打败了妖皇帝俊，保护了人间安危。

民間傳說玄天上帝在雪山修道時，曾用戒刀剖腹洗腸，由於日月精華的治練，戒刀修成陽體，刀鞘修成陰體，各自化為人形。刀鞘上天管理瑤池桃園，賜名桃花仙子；戒刀為成正果，在盪魔山上興妖作怪，被天兵擒往金闕斬妖台上待斬，太上老君念他修行千年，功果不易，於是出面搭救，委任戒刀為兜率宮的盒童，不料戒刀惡習難改，偷學天罡正訣後又私自下凡，降生在商朝士大夫家，取名周乾；桃花仙子奉玉旨下凡擒拿，生在任太公家，因她相貌美麗，鄰里譽為桃花女。二人自小就有神力，後來相遇而鬥法，周乾更設計於凶神下降之日迎娶桃花女，藉機以弔喪二神沖剋，而桃花女則計中有計，在出閣當天，派人準備二尺紅綾鋪地，花轎上鏽八洞神仙，並焚以檀香柏葉，身穿大紅蟒袍，下轎時，頭蓋篩籮，腳踏紅綾而不沾泥以天羅地網辟制凶神惡煞，二人各施本領，驚動巡天御史，上報玄天上帝，玄帝命龜蛇二將召二人晉見，真武賜與二人金丹，令二人一齊鎮守於武當山真武廟。 　　編劇侯孝賢1947年生，廣東梅縣人，國立藝專電影科畢業，1973年進入電影界，擔任李行的場記、助導，並從事編劇，作品有《桃花女鬥周公》、《早安台北》、《蹦蹦一串心》等。

盖伊·马丁受邀到塔尔·贝拉的电影学院时，和学生们一起完成的一个短片，改编自著名先锋电影导演László Moholy-Nagy写的一个剧本构思。（László Moholy-Nagy的原剧本构思介绍：https://blogs.princeton.edu/graphic arts/2010/12/l_moholy-nagy.html）

富家公子周乾與幻化人形到凡間遊玩的桃花仙子小桃红一見鐘情。和小桃紅一起生活的是白桃仙子桃千金，柳樹仙柳先春，還有蚌仙水蓮芳。小桃紅天真浪漫，以為能夠和周乾結為夫妻過上幸福的生活，一直愛戀小桃紅的柳先春勸告其不要忘記自己是異類的現實，小桃紅不聽勸告，離家出走到周乾家賣身為奴，只為與周乾日夜享受。誰知他們的相愛引起表妹的嫉妒，兩次请来茅山道士加害小桃红，第一次被柳先春所救，第二次小桃紅與柳先春雙雙被害死。周乾知情后怅然离家入山修练道术。二十年后，周乾得道下山，行善積德，卻意外與小桃红亦转世投胎为桃花女再度相遇，在茅山道士的诡计作弄下两人未能再续前缘反而竟相斗法，此剧的仙侣情缘及斗法过程，精采电影特技手法拍摄，造成轰动。

“行行可以出状元，行行也可能会撞鬼” 周公讲鬼已经讲了一段时间，开始遇到瓶颈。于是，周公希望进行头脑风暴，希望能够构思新栏目，刺激收听率。众人搜索枯肠不果，于是希望能通过外卖点餐来刺激思路，没想到刚刚下单，外卖几乎同步送上，而进来的送餐员Gary却是一脸惶恐闯进了开会地点，诉说了自己的可怕送餐经历。说完后，Gary离开了众人，消失无踪。而留下的所谓送餐，却是一盒莫名其妙的祭品和食物，让众人细思极恐…… 　　周公受到了这次诡异的送餐经验启发，于是产生了灵感，构思了《行行都撞鬼》的栏目，决定通过邀请各行各业的听众，分享自己职场或工作环境上的灵异体验。 尔后，迎来了保安诉说自己在著名的猛鬼工业大厦里的电梯惊魂记；装修工在装修发生过严重意外的印刷作坊时遇到的恐怖经历；对诡异古董灯念念不忘的旧货商的可怕经验；为了利益住进闹鬼凶宅的铁齿房产经纪；灵异体质的演员艺人在拍戏现场的敏感体验；精力旺盛的马拉松运动员不信邪在鬼节夜跑的惊悚过程；私召车司机载到不知是人是鬼的悬疑路程；好奇的摄影师拍摄到不可思议灵异画面的恐怖瞬间；最后就是周公自己对于灵体信口开河开罪对方的匪夷所思亲身经历…… 　　环环相扣，处处惊悚，周公讲鬼之行行都撞鬼，和你一起见证灵异世界的轨迹！

“行行可以出状元，行行也可能会撞鬼” 周公讲鬼已经讲了一段时间，开始遇到瓶颈。于是，周公希望进行头脑风暴，希望能够构思新栏目，刺激收听率。众人搜索枯肠不果，于是希望能通过外卖点餐来刺激思路，没想到刚刚下单，外卖几乎同步送上，而进来的送餐员Gary却是一脸惶恐闯进了开会地点，诉说了自己的可怕送餐经历。说完后，Gary离开了众人，消失无踪。而留下的所谓送餐，却是一盒莫名其妙的祭品和食物，让众人细思极恐…… 　　周公受到了这次诡异的送餐经验启发，于是产生了灵感，构思了《行行都撞鬼》的栏目，决定通过邀请各行各业的听众，分享自己职场或工作环境上的灵异体验。 尔后，迎来了保安诉说自己在著名的猛鬼工业大厦里的电梯惊魂记；装修工在装修发生过严重意外的印刷作坊时遇到的恐怖经历；对诡异古董灯念念不忘的旧货商的可怕经验；为了利益住进闹鬼凶宅的铁齿房产经纪；灵异体质的演员艺人在拍戏现场的敏感体验；精力旺盛的马拉松运动员不信邪在鬼节夜跑的惊悚过程；私召车司机载到不知是人是鬼的悬疑路程；好奇的摄影师拍摄到不可思议灵异画面的恐怖瞬间；最后就是周公自己对于灵体信口开河开罪对方的匪夷所思亲身经历…… 　　环环相扣，处处惊悚，周公讲鬼之行行都撞鬼，和你一起见证灵异世界的轨迹！