苏叶（辛瑞琪 饰）是一个心地非常善良的女孩，只是因为脸上有一道显眼的疤痕，令苏叶时常感到非常的自卑。一次偶然中，苏叶得到了一支能够穿越时空的口红，苏叶利用口红回到了她脸上留下疤痕之前的时间点，同时转了行成为了4S店的销售员，她决定利用这个千载难逢的机会改变未来，避免悲剧的发生。 　　在此过程中，苏叶邂逅了霸道总裁韩绍（胡浩博 饰），他就是那个彻底改变了苏叶人生轨迹的男人。苏叶发现自己学生时代的好友丸子和自己反目成仇，为了追寻其中的因果，苏叶又穿越回了高中，想要从原点开始修复自己和丸子之间的友谊。

因眼角有疤而封闭内心的苏叶，在姥姥离世前得到了一支可以穿越时间的口红。苏叶利用口红改变了过去，重新拥有美貌，从质监局跳槽到了4S店工作，并在危机…

昆曲被誉为“百戏之祖”，是中国传统戏剧中最雅的形式，集中国传统的诗、舞、歌、剧等多种艺术为一体，集中体现了极致的中国古典美学——抽象，写意，抒情，诗化。 　　它非常好地凝练了中国戏剧舞台美学的一个特征——极度简约，甚至到达一种抽象艺术的审美境界，可以说是既古老又优美，既先锋又抽象。 　　本节目，梁文道从《金山夜戏》中“不知是人是怪是鬼”的离奇故事讲起，细数600年来昆曲艺术从诞生到发展的一次次变化和经历。 　　同时，梁文道也特别邀请苏州昆剧院国家一级演员吕佳进行对谈。吕佳分享了作为昆曲演员，是如何将过往的经历融入到不同角色的塑造和创作之中，并带领观众进入到一场场唯美似幻的梦境里。 　　《唯美梦境六百年》在看理想App及看理想哔哩哔哩、腾讯视频、优酷视频等平台，爱慕相关视频平台，同步上线。

Consists of segments: (1) "The Classical Ideal". The origins of Western art are traced to ancient Greece through Kouroi and Korai figures, as well as by the architectures of the Pantheon. From Greece to Rome through the Hellenistic period, the program focuses on the new artistic approach to human form and violent emotions that reached its pinnacle with the altar of Zeus at Pergamun. (2) "A White Garment of Churches". Examines Romanesque and Gothic churches as evidence of the values of the societies that created them. Shows the effect of monasticism and pilgrimage on Romanesque church architecture. Uses Gislebertus's sculpture at St. Lazare in Autun to show the medieval focus on Heaven and the afterlife. The Gothic architecture, sculpture and stained glass at St. Denis and Chartres are discussed as evidence of a new theology and profound social changes during the twelfth and early thirteenth centuries. (3) "The Early Renaissance in Italy and the North". (4) "The High Renaissance". Covers key aspects of the High Remaissance, including the advent of the artist as genius (Leonardo, Michelangelo, and Raphael), the rise of Rome as a center of artistic vitality, and Venetian preoccupation with the quality of light (Giorgione and Titian). Also examines the social turbulence of the late sixteenth century and the reinterpretation of classical architectural principles. (5) "Realms of Light". Examines the divergent themes of the baroque period, including a new emotional appeal as seen in Bernini's 'The Ecstasy of St. Teresa,' Caravaggio's naturalism, Velasquez's multilayered works, and the rise of bourgeois values as seen in Rembrandt's works. (6) "An Age of Reason, an Age of Passion". Covers the move from the rococo period to neoclassicism and romanticism. Relates stylistic changes to the French Revolution and the Napoleonic wars. Covers the work of David, Géricault, Turner, Delacroix, and Goya. (7) "Realists, Impressionists, Post-Impressionists". Contrasts Courbet's treatment of subjects from everyday life with the innovations and techniques used by the impressionists. Examines the impressionists characteristic concern with color and changing light and contrasts this with the very individualistic visions of the postimpressionists. (8) "Into the Twentieth Century". Covers the work of the Fauves, the Cubists, the international style, and the Surrealists. Discusses how these movements relate to modern life. (9) "In Our Own Time." Examines why the appearance of abstract expression caused the United States to become a center for the visual arts. Reviews the diversity of styles in the postwar period, including the work of Pollock, Warhol, Oldenburg. Also examines the explosive internationalization of the art world in the 1970s and 1980s. Written by Fiona Kelleghan {[email protected]

Consists of segments: (1) "The Classical Ideal". The origins of Western art are traced to ancient Greece through Kouroi and Korai figures, as well as by the architectures of the Pantheon. From Greece to Rome through the Hellenistic period, the program focuses on the new artistic approach to human form and violent emotions that reached its pinnacle with the altar of Zeus at Pergamun. (2) "A White Garment of Churches". Examines Romanesque and Gothic churches as evidence of the values of the societies that created them. Shows the effect of monasticism and pilgrimage on Romanesque church architecture. Uses Gislebertus's sculpture at St. Lazare in Autun to show the medieval focus on Heaven and the afterlife. The Gothic architecture, sculpture and stained glass at St. Denis and Chartres are discussed as evidence of a new theology and profound social changes during the twelfth and early thirteenth centuries. (3) "The Early Renaissance in Italy and the North". (4) "The High Renaissance". Covers key aspects of the High Remaissance, including the advent of the artist as genius (Leonardo, Michelangelo, and Raphael), the rise of Rome as a center of artistic vitality, and Venetian preoccupation with the quality of light (Giorgione and Titian). Also examines the social turbulence of the late sixteenth century and the reinterpretation of classical architectural principles. (5) "Realms of Light". Examines the divergent themes of the baroque period, including a new emotional appeal as seen in Bernini's 'The Ecstasy of St. Teresa,' Caravaggio's naturalism, Velasquez's multilayered works, and the rise of bourgeois values as seen in Rembrandt's works. (6) "An Age of Reason, an Age of Passion". Covers the move from the rococo period to neoclassicism and romanticism. Relates stylistic changes to the French Revolution and the Napoleonic wars. Covers the work of David, Géricault, Turner, Delacroix, and Goya. (7) "Realists, Impressionists, Post-Impressionists". Contrasts Courbet's treatment of subjects from everyday life with the innovations and techniques used by the impressionists. Examines the impressionists characteristic concern with color and changing light and contrasts this with the very individualistic visions of the postimpressionists. (8) "Into the Twentieth Century". Covers the work of the Fauves, the Cubists, the international style, and the Surrealists. Discusses how these movements relate to modern life. (9) "In Our Own Time." Examines why the appearance of abstract expression caused the United States to become a center for the visual arts. Reviews the diversity of styles in the postwar period, including the work of Pollock, Warhol, Oldenburg. Also examines the explosive internationalization of the art world in the 1970s and 1980s. Written by Fiona Kelleghan {[email protected]

广州火车站站前派出所，一个万象生的地方，在这里你能看到社会的各个折射面。

广州火车站站前派出所，一个万象生的地方，在这里你能看到社会的各个折射面。

第二年（2011）春运，我们一如既往回到这个派出所…… 　　除了那几位老“差人”，上一部片中的“新疆人”、“来广州混的少年”、“忏悔的青年”……没有一位再次出现。 　　派出所，普通人一生也难得进去一次，可也有人一个春运要进去好几次。故事就从一些总要在这进进出出的人说起…… 　　影片似乎仍然是没有重点，结构松散，主题混沌。 　　其实，人本身就是一矛盾体，由人组成的社会注定也是如此。

文艺复兴时期的欧洲大陆上散落着一批至今未对公众开放的私人藏宝屋，这些被视作博物馆前身的私人收藏馆里，收藏着自然标本、科学仪器、工艺美术品，还有大量伴随地理大发现而搜集来的异国珍宝，堪称微缩的文明宝库。沉睡数百年之后，由弗朗切斯科·因菲尼奇（Francesco Invernizzi）执导的《珍奇馆》将首次以纪录片的形式揭秘这些王公贵族的私人馆藏，走进背后的传奇故事。 　　透过大学教授、博物馆策展人、艺术史学家、收藏家和美术馆馆长等业界人士的讲述，我们将全方位探寻珍奇馆的前世今生：这些百科全书式的陈列收藏从何而来？又如何被收藏或交易？它们究竟价值几何？背后又藏着什么神秘故事？影片还将关注珍奇馆的现状，跟随当代艺术家的视角探索其未来可能性。

題材となる「無言館」は長野県上田市に実在する美術館。太平洋戦争の最中、「あと10分、あと5分でいいから描かせてくれ……」と出征直前まで戦没画学生たちが描き続けたのは故郷、家族、愛する者を描いた穏やかな絵ばかりだった。本作では、そんな画学生たちの作品を展示する無言館の開館に向け、主人公・窪島誠一郎が奔走するさまが描かれる。