本片讲述主人公冯远在儿童时期因为一次偶然的事故失明，因为竹笛而振作，通过自己的努力获得家人的支持，之后在老师的帮助下为音乐梦想拼搏的故事。

故事开始于1971年，一个叫帕奔德的村庄，Chane（Porshe饰）是一位在边境巡逻军人，有一支M16陪伴着他。在边境的Chane收到爱人Nueathong的来信，因她父亲好赌不得不嫁给当地恶势头首领Gamnan的儿子Chat，Chane心痛不已，但正好有与毒枭的儿子Falan作战的任务，在捉住Falan之后，Chane赶回帕奔德村。 　　Walapha（Sammie饰）在母亲的舞厅里唱歌，因母亲Lamduan与Gamnan结婚，Walapha也住进Gamnan家。Walapha同情Chane和Nueathong帮助他们两人私奔，但最后未能成功！Nueathong依然嫁给了Chat，真相败露后被捉住的Chane也受到Chat独打。[5] 　　Falan被父亲请来杀手解救后，欲寻Chane报仇！ 　　Chane在不断与敌人对抗中，得到Walapha的相助，但两人在战斗中一直打打闹闹的，在与敌人对抗中Chane还得到Pleng的相助。 　　Pleng的一生也很坎坷，被陷害杀害心爱的女人Fagam入狱，出狱后又一直遭到怀疑是杀害Fagam的混混警察Sawan处处找茬。但认识了医生Duean（Sawan的妹妹），被他的善良聪慧打动，但夹在Sawam的误解中，两人最终会如何呢？而Chane与Walapha这对活宝最终也会如何呢？ 　　这部剧不仅是站火枪斗，更是歌声传达力量，铁汉柔情，动作兼音乐风格的片子！在歌声中感受汉子的坚定的力量，恋人的爱意绵情！

故事开始于1971年，一个叫帕奔德的村庄，Chane（Porshe饰）是一位在边境巡逻军人，有一支M16陪伴着他。在边境的Chane收到爱人Nueathong的来信，因她父亲好赌不得不嫁给当地恶势头首领Gamnan的儿子Chat，Chane心痛不已，但正好有与毒枭的儿子Falan作战的任务，在捉住Falan之后，Chane赶回帕奔德村。 　　Walapha（Sammie饰）在母亲的舞厅里唱歌，因母亲Lamduan与Gamnan结婚，Walapha也住进Gamnan家。Walapha同情Chane和Nueathong帮助他们两人私奔，但最后未能成功！Nueathong依然嫁给了Chat，真相败露后被捉住的Chane也受到Chat独打。[5] 　　Falan被父亲请来杀手解救后，欲寻Chane报仇！ 　　Chane在不断与敌人对抗中，得到Walapha的相助，但两人在战斗中一直打打闹闹的，在与敌人对抗中Chane还得到Pleng的相助。 　　Pleng的一生也很坎坷，被陷害杀害心爱的女人Fagam入狱，出狱后又一直遭到怀疑是杀害Fagam的混混警察Sawan处处找茬。但认识了医生Duean（Sawan的妹妹），被他的善良聪慧打动，但夹在Sawam的误解中，两人最终会如何呢？而Chane与Walapha这对活宝最终也会如何呢？ 　　这部剧不仅是站火枪斗，更是歌声传达力量，铁汉柔情，动作兼音乐风格的片子！在歌声中感受汉子的坚定的力量，恋人的爱意绵情！

If something characterizes Reichardt's work, it's that it always finds its characters downhill. And if that vivid decadence, that pain of not being anymore that transmit the characters in River of Glass, Old Joy and Wendy and Lucy, her three features, already causes anguish, those great moments of pain captured by the director intensify, through condensation, in each of her short subjects. Death is lord and master in the shorts Then, a Year and Travis, and also in Ode, the only mid-length film by this daughter of cops (him, scientific; her, narcotics). Then, a Year combines, without attempting any kind of narrative, Reichardt in her adoptive Portland with a pastiche that mixes statements from different shows about crimes of passion. This idea is resumed in Travis, video-installation where that focus that never reaches the image, sensed as violent close-ups of a fixed photograph, is centered in politics: Reichardt infinitely loops fragments from the interview with a mother that has lost her son Travis in Iraq, and who, in every little confession, leaves a piece of her heart. Lastly, in Ode, the director shows the courage for loving of two young Baptists, capturing, for three quarters of an hour, the story of a love that could never be between Billy Joe and Bobbie Lee, and its tragic outcome. And the inevitable one, because there's no place for the humbled joy of those poor old hearts in the oppressive world of the religious deep America. in Ode, the director shows the courage for loving of two young Baptists, capturing, for three quarters of an hour, the story of a love that could never be between Billy Joe and Bobbie Lee, and its tragic outcome. And the inevitable one, because there's no place for the humbled joy of those poor old hearts in the oppressive world of the religious deep America. in Ode, the director shows the courage for loving of two young Baptists, capturing, for three quarters of an hour, the story of a love that could never be between Billy Joe and Bobbie Lee, and its tragic outcome. And the inevitable one, because there's no place for the humbled joy of those poor old hearts in the oppressive world of the religious deep America.

If something characterizes Reichardt's work, it's that it always finds its characters downhill. And if that vivid decadence, that pain of not being anymore that transmit the characters in River of Glass, Old Joy and Wendy and Lucy, her three features, already causes anguish, those great moments of pain captured by the director intensify, through condensation, in each of her short subjects. Death is lord and master in the shorts Then, a Year and Travis, and also in Ode, the only mid-length film by this daughter of cops (him, scientific; her, narcotics). Then, a Year combines, without attempting any kind of narrative, Reichardt in her adoptive Portland with a pastiche that mixes statements from different shows about crimes of passion. This idea is resumed in Travis, video-installation where that focus that never reaches the image, sensed as violent close-ups of a fixed photograph, is centered in politics: Reichardt infinitely loops fragments from the interview with a mother that has lost her son Travis in Iraq, and who, in every little confession, leaves a piece of her heart. Lastly, in Ode, the director shows the courage for loving of two young Baptists, capturing, for three quarters of an hour, the story of a love that could never be between Billy Joe and Bobbie Lee, and its tragic outcome. And the inevitable one, because there's no place for the humbled joy of those poor old hearts in the oppressive world of the religious deep America. in Ode, the director shows the courage for loving of two young Baptists, capturing, for three quarters of an hour, the story of a love that could never be between Billy Joe and Bobbie Lee, and its tragic outcome. And the inevitable one, because there's no place for the humbled joy of those poor old hearts in the oppressive world of the religious deep America. in Ode, the director shows the courage for loving of two young Baptists, capturing, for three quarters of an hour, the story of a love that could never be between Billy Joe and Bobbie Lee, and its tragic outcome. And the inevitable one, because there's no place for the humbled joy of those poor old hearts in the oppressive world of the religious deep America.

这在1997年西班牙生产是第二个画面适应斯蒂芬vzinczey的小说“在赞美年长妇女” 。我没有看到第一个，但将难以顶端，这1 。的位置，这适应已变更为从二次世界大战匈牙利到西班牙，期间和之后，立即内战。年轻的男孩和主要特征，作为描绘的胡安迭戈巴托（仍然是西班牙最有前途的年轻演员） ，旨在找到他的母亲中，风暴，并发现异性对未来路向。成熟的妇女，法耶夫•达纳韦和乔安娜帕库拉包括，教导他关于爱情和激情，虽然他stumbles后，女孩自己的年龄（英格里德卢比奥星卡洛斯绍拉的的士）一次或两次。电影是娱乐性和价值，以及您的时间。太差，这是没有公布在美国或英国，但它现已在视频（无英文字幕） 。

这在1997年西班牙生产是第二个画面适应斯蒂芬vzinczey的小说“在赞美年长妇女” 。我没有看到第一个，但将难以顶端，这1 。的位置，这适应已变更为从二次世界大战匈牙利到西班牙，期间和之后，立即内战。年轻的男孩和主要特征，作为描绘的胡安迭戈巴托（仍然是西班牙最有前途的年轻演员） ，旨在找到他的母亲中，风暴，并发现异性对未来路向。成熟的妇女，法耶夫•达纳韦和乔安娜帕库拉包括，教导他关于爱情和激情，虽然他stumbles后，女孩自己的年龄（英格里德卢比奥星卡洛斯绍拉的的士）一次或两次。电影是娱乐性和价值，以及您的时间。太差，这是没有公布在美国或英国，但它现已在视频（无英文字幕） 。

From rising cult filmmaker Kenichi Ugana, a misfit horror-themed rock band moves to the Japanese countryside to write the greatest punk anthem in the world.

信奉「Punk同面豉汤一样衔重要」的地下乐队主唱花子深信明年今日就是自己的死忌—正如众多死于27岁的摇滚音乐人一样。花子死前最大的心愿就是参加英国的Glastonbury音乐节，奈何乐队捞唔起，唱片滞销之余惨被发行公司追债，更将他们放逐到农村。唔想就此成世调理农务，废青 乐团决心自救，就算无法用Punk歌救地球，都至少要唱出个名堂！花子死到临头爆发小宇宙，以B级恐怖片为灵感创作歌曲，到底「时日无多」的花子最后能否成功带领乐队冲出罨耷农村？日本新一代Cult界导演宇贺那健一发挥癫才想像，结合青春、死亡及音乐，继续语不惊人死不休。

大型史诗歌舞剧《大地颂歌》将扶贫路上涌现的真实人物和典型事例进行艺术创作，以湘西之事讲湖南，以湖南之事讲全国，展现了湖南“精准扶贫”的决心和精神， 传递了湖南人民取得脱贫攻坚战胜利后的获得感、幸福感和对党的感恩之情，呈现一幅波澜壮阔、感人肺腑的精准扶贫中国画卷。