Kidlat Tahimik的第二部电影《Turumba》(Kidlat Kulog Productions, 1983)提供了一个虚拟教科书，展示了资本渗透到一个传统村庄，以及市场和金钱关系对集体关系的转变。这一过程的象征是，现金关系对影片名称所指定的宗教仪式的影响，并开启了制片公司为市场带来的变化。在这个节日里，在现代社会中作为文化和宗教而被分离的事物还没有被分离，那些美丽的游客——图伦巴的西方公众——仍然可以在摄影机的介入媒介及其游记语言的背后，遥望和重建。因此，在这里已经可以列举出在Mababangong Bangungot(1977)将更雄心勃勃地部署和发展的正式因素。一种次要的象征主义，标志着这种和合作选择的合作，包括承认和炫耀地突出西方观众和一般旅行见闻的不真实性。在这里，手工艺品是一种媒介，它永远不会改变，而且已经不可挽回地改变得面目无睹。一位德国旅游女商人喜欢节日里使用的一些装饰品，并订购了更多。家庭然后村庄本身必须招募逐渐大规模生产这些物品,最终破坏村庄的周期性或仪式的时间,防止浪费更多的组织者在节日的源对象的问题放在第一位。罗米和他的儿子卡杜(霍默·阿比阿德[Homer Abiad]饰)被送去了欧洲，参加了1972年的慕尼黑奥运会，第三世界在第三世界即将受到第一世界的猛烈冲击的时候参观了第一世界，这与基德拉特的美学是一致的。

A hen unable to lay eggs finds her life changed when she is sold to a music teacher

辽宁卫视2013年全新娱乐、益智、服务类节目。

辽宁卫视2013年全新娱乐、益智、服务类节目。

关于巴宾的出生，有一个预言，那一天阴风怒号，浊浪排空。杂货铺老板夫妇在一起谈论着这几天的怪天气和古老的魔咒，正在此时，巫婆临盆了，在一番痛苦的挣扎与惨厉的号角声中，巴宾呱呱坠地。然而，他患有智障残疾的事实，却让这个家庭分崩离析。而且，镇上发生了奇怪的事情：杂货铺老板在培育萤火虫时引发教堂火灾，而神甫就在里面，结果那里成了一片废墟。当时巴宾在教堂边观望着冰凌，急切渴盼神往沉醉如同往常。发现起火他就拉钟。村里来了新的牧师。蛮横而且非常大意，是一个昏庸的制裁者。一次错怪了巴宾，就公报私仇指罪巴宾是纵火者。在他的恐吓和屈辱下，逼供在全村人面前说自己是纵火者。把巴宾送到绞首台。可是奇迹发生了……

Alain Badiou, born in 1937 in Morocco, demonstrated his exceptional skills in many fields of science, but became famous as a philosopher. The directorial duo the Kaylan brothers made their first feature film about Badiou, in which the philosopher himself talks about his work and personal life and presents his thoughts.

12岁的比勒是一个活泼可爱、本性善良的孩子，喜欢和村里的一个他非常喜欢的小女孩捉迷藏，生活简单而充满乐趣。阿婆已经80岁了，却孤独无依，还被无知的村民认为是一个总会给他们带来倒霉事的女巫。于是诸如粮仓被焚、女孩意外死去等不幸之事都归罪于她。而比勒却从老阿婆那里，听到了许许多多说也说不完的稀奇古怪的故事……

55-year-old Demba is about to retire after 30 years of service at the city hall in his small town in Northern Senegal. That hot summer, as the 2-year anniversary of his wife’s passing approaches, he realizes he just can’t “shake it off.” As his mental health deteriorates, he discovers a new connection with his once estranged son. 　　Grief and depression are so alike that for years, the American Psychiatric Association has urged doctors not to diagnose major depression in individuals who have recently lost a loved one. But what does that mean for a society that does not have a word for depression and where psychosocial disorders remain a taboo? 　　Can Demba recover from his loss without losing himself?

First-time feature filmmaker Rebeca “Beba” Huntt undertakes an unflinching exploration of her own identity in the remarkable coming-of-age documentary/cinematic memoir BEBA. Reflecting on her childhood and adolescence in New York City as the daughter of a Dominican father and Venezuelan mother, Huntt investigates the historical, societal, and generational trauma she’s inherited and ponders how those ancient wounds have shaped her, while simultaneously considering the universal truths that connect us all as humans. Throughout BEBA, Huntt searches for a way to forge her own creative path amid a landscape of intense racial and political unrest. 　　Poetic, powerful and profound, BEBA is a courageous, deeply human self-portrait of an Afro-Latina artist hungry for knowledge and yearning for connection.