在时空的跨越与调度中，记录我们生活的这个时代下，人文和商业、社会和商业之间的影响。让受众在“故事”中，找到“自己”，引发共鸣，带来思考与启迪。

《新城商业》是一档生活资讯综合类节目，聚焦现代社会的两大推动力量——科技与创新，它将为你全方位解读当下与未来，带你了解生活将发生怎样的改变！

在时空的跨越与调度中，记录我们生活的这个时代下，人文和商业、社会和商业之间的影响。让受众在“故事”中，找到“自己”，引发共鸣，带来思考与启迪。

《新城商业》是一档以现代社会的两大推动力量：科技与创新为核心的生活资讯综合类节目，将为你全面解读现在与未来，你的生活将如何被改变！

百无聊赖的法国滨海小镇，惊传离奇车祸断头案，悬案背后暗藏两大外星势力——邪恶0帝国与善良1帝国的角力。0帝国武士附身普通渔夫，与人类生下混种小王子，恶魔血脉开枝散叶，宇宙和平岌岌可危；1帝国公主为阻止0帝国耍阴招侵略地球，奉女王之命无差别血刃敌军臣民。在这个无人在意的世界角落，关乎人类未来的宇宙大战一触即发。

克里斯（利亚姆·海姆斯沃斯 Liam Hemsworth 饰）一直希望能够成为一名警察，却在连连遭遇失败后来到了帝国装甲卡车公司，成为了那里的保镖。没过多久，克里斯便发现，公司内的安保布置看似无坚不摧实际上漏洞百出，他将这个秘密告诉了好友艾迪（迈克尔·安格拉诺 Michael Angarano 饰），谁知道自己的无心之谈竟然惹出了之后的一连串大麻烦。 　　克里斯决定和艾迪联手，两人策划了一宗现金抢劫案，打算在得手之后远走高飞。谁知道这个看似一帆风顺的计划，却因为精明的警探詹姆斯（道恩·强森 Dwayne Johnson 饰）的介入而徒增了风险。与此同时，掌控该片区的黑帮老大亦对两人的计划产生了兴趣。

'Empire' was the trailer for the Viennale 2010 and screened in over one hundred cinemas in Austria and during the festival in Vienna.

'Empire' was the trailer for the Viennale 2010 and screened in over one hundred cinemas in Austria and during the festival in Vienna.

Short film Empire is based on a radio drama Sorry, Wrong Number by the American writer Lucille Fletcher. Actually, Sokurov draws on a single theme forming the background for the story of the thriller — the woman's illness… The heroine is bed–ridden and her only means of communication with the outside world is her telephone — until a killer interrupts the conversation… 　　Sokurov removes all the dialogues, leaving us alone with the heroine — “a living skeleton” among the refined, with a touch of Modern–style, furnishings — who is listening to a radio broadcasting of Traviata, with its pleas for mercy and love. An elegant coffin–home is the spatial centre and symbolization of the entire film. And inside the coffin we certainly see the actress — the famous Russian ballerina Alla Osipenko who plays not only the heroine but also her own self. 　　This metaphoric cinema–image bears an allusion to the great “handicapped” Sarah Bernhardt who was reported to sleep in a coffin, as well as to the entire complex of aesthetised Decadence, converting an apology of Death into a lifestyle. Here is the key to the code of the title. Empire is a style that attempted to reanimate the dead ancient harmony. The heroine of Sokurov's film communicates with her phone as the only partner, and sort of interferes with the beyond, attracting this air — intangible yet saturated with danger. It is from the radio air that she accumulates both pleasure and tranquillity — the aria of dying yet beloved Violetta, while the killer's silhouette materializes from the phone air. A chamber pot, overturned and spilt by the killer in haste, remains the only evidence of human activities in this boudoir of Death. Sokurov's metaphor, clad in naturalistic details, produces the effect of ironic disclosure: “a wet spot” is left after a symbol. 　　The film was shot as a study work of a VGIK student S.Sidorov. At that time Sokurov did not have a chance to launch a project of his own, therefore he used this possibility to work. Visual conception of this film anticipates a considerable number of Sokurov's future experiments: light that models the space, levelling of colours, correlation of contrasting textures.