二柱曾痴傻，哥哥大柱遭黑衣人追杀身亡后，他与寡嫂桃花相依为命。村霸胡德彪觊觎桃花，殴打二柱时，二柱后脑受伤，脖中家传玉戒吸收血迹，让他恢复神智并获寻药异能。二柱凭异能寻得紫灵芝还债，结识百草堂少主苏婉儿，却也引圣医门少主慕容秋觊觎玉戒。胡德彪屡次骚扰桃花，慕容秋则派人争夺玉戒、绑架桃花。

The tranquility in a Bulgarian village under the Ottoman yoke is ostensible. In fact, the people prepare themselves strenuously for an uprising. The educated part of the population desperately wants changes. The enthusiasm is enormous, but the rebellion is beyond their powers. The Turk break down the resistance and shed a lot of blood. The sanguinary uprising is the reason for the Russian-Turkish war, in which the Bulgarian volunteers take part as well. Written by Georgi Djulgerov {[email protected]}

患有艾斯伯格综合征 （一种较轻的自闭症）的11个的月修直 （ 龙品旭 饰）第一个记忆是听见田桂芳 （ 张静初 饰）叫“修直”，然后笑了。修直第一次思想——他真是修直还是长得像修直。田桂芳她阻止了很多事发生。诸如修直没有失踪、厨房胖嫂没被开水烫伤、莫菲的裙子没有烧着。但门防大爷的伞还是散架了、园长的眼镜碎了。修直这样度过了幼儿园。田桂芳是数学文盲，修直求证祖冲之圆周率使用分割法，田桂芳依旧不懂，而且下了岗。修直知道蚂蚁天生是计算家，有独特的认路方法，人要靠记忆才能认路，但田桂芳总可以找到修直却是个谜。修直17岁 （黎兆丰饰）看见铸造自己的模子——爸爸 （ 张国强 饰），修直要跟爸爸出国。那天下雨路不通，修直发现田桂芳翻墙也不会。田桂芳说“修直长大了，修直长不大才好。”但修直知道人总是要长大的。

患有艾斯伯格综合征（一种较轻的自闭症）的11个的月修直（龙品旭 饰）第一个记忆是听见田桂芳（张静初 饰）叫“修直”，然后笑了。修直第一次思想——他…

柏林和香港的雙城對照，看似相隔萬里，但只要善於藏形匿影，其實似遠還近。香港年輕劇場導演 Kevin 和隊友集思廣益，構思下一部舞台劇意念，希望將來得到贊助到外國演出。居於柏林的中年髮型師 Frank 機緣巧合下透過手機程式認識了 Kevin，二人分享生活日常，彼此探索進一步的可能。Kevin 決定以柏林圍牆為題，透過 Frank 鉤沉並搬演昔日東德時期的監控生活。影片跨地拍攝，以劇場元素、酷兒身份交接兩地的社會文化脈絡，佈局層層套疊，誘導、跟蹤、竊取，恍若貼身追擊，果真如影隨形。

柏林和香港的雙城對照，看似相隔萬里，但只要善於藏形匿影，其實似遠還近。香港年輕劇場導演 Kevin 和隊友集思廣益，構思下一部舞台劇意念，希望將來得到贊助到外國演出。居於柏林的中年髮型師 Frank 機緣巧合下透過手機程式認識了 Kevin，二人分享生活日常，彼此探索進一步的可能。Kevin 決定以柏林圍牆為題，透過 Frank 鉤沉並搬演昔日東德時期的監控生活。影片跨地拍攝，以劇場元素、酷兒身份交接兩地的社會文化脈絡，佈局層層套疊，誘導、跟蹤、竊取，恍若貼身追擊，果真如影隨形。

丽兹和班尼都出生在一个有色人种的家庭。在一次文学聚会上，丽兹遇到了年轻英俊的白人知识青年托尼，带着一种轻浮的热情，涉世未深的丽兹弃原来的追求者不顾，投入了托尼的怀抱，并与托尼发生了性关系。但是，当托尼发现丽兹并非白人，尤其当他看见丽兹黑皮肤、厚嘴唇的大哥，厌恶之感顿生。丽 兹痛苦了一段时间，终于，一个黑人青年的追求把她从深渊中拉了出来。丽兹的二哥班尼生性叛逆，总是与三两个朋友一起浪迹街头，虽然自己不是白的，但他有时也厌恶黑人的粗俗，对种族之间的问题，他似乎只是在街边边走边看，超脱，但不可避免的颓废。

丽兹和班尼都出生在一个有色人种的家庭。在一次文学聚会上，丽兹遇到了年轻英俊的白人知识青年托尼，带着一种轻浮的热情，涉世未深的丽兹弃原来的追求者不顾，投入了托尼的怀抱，并与托尼发生了性关系。但是，当托尼发现丽兹并非白人，尤其当他看见丽兹黑皮肤、厚嘴唇的大哥，厌恶之感顿生。丽 兹痛苦了一段时间，终于，一个黑人青年的追求把她从深渊中拉了出来。丽兹的二哥班尼生性叛逆，总是与三两个朋友一起浪迹街头，虽然自己不是白的，但他有时也厌恶黑人的粗俗，对种族之间的问题，他似乎只是在街边边走边看，超脱，但不可避免的颓废。

《影子》是50年代-60年代初波兰电影学院派的代表作，与Andrzej Munk的《倒霉》《铁轨上的男人》等片齐名。是卡瓦莱罗维奇最好的作品之一。获嘎纳金棕榈和英国学院奖最佳影片提名。 　　The first screenplay, based on one of his own stories, by noted writer Alexander Scibor-Rylski, SHADOW is a Rashomon-like investigation into the life of a man found dead after having been hurled from a train. As security agents, policemen and a medical examiner begin to piece together his identity, three accounts emerge: one set during the war, one in the immediate aftermath, and one in then contemporary Poland. In each, the murdered victim seems to have been a mysterious, ambiguous presence, of shifting loyalties and suspicious connections, who invariably set himself against the ruling powers of the time. Critics at the time attacked the film for its depiction of a world rife with secret agents and hidden enemies - a favorite Stalinist theme - yet the film seems rather to insist on how heroism or villany are so often matters of point of view and timing. 　　Polish filmmaker Jerzy Kawalerowicz was once considered one of his country's most talented post-WW II directors, noted for his powerful, detail-oriented imagery. Kawalerowicz was versatile and his subjects ranged from historical dramas to intense psychological studies. He made his directorial debut in 1951 after working as an assistant director. In 1955 Kawalerowicz was appointed head of the prestigious KADR production unit. He held the position again in 1972. In 1983, Kawalerowicz alienated himself from many of his peers by signing communist government-generated reports condemning all filmmakers aligned with the Solidarity Movement and promoting the destruction of production units run by long time associates Wajda and Zanussi. 　　Born in Gwozdziec, Poland (now Gvozdets, Ukraine), Jerzy Kawalerowicz was noted for his powerful, detail-oriented imagery and the depth of ideas in his films. After working as an assistant director, he made his directorial debut with the 1951 film The Village Mill (Gromada). He was a leading figure in the Polish Film School, and his films Shadow (Cien, 1956) and Night Train (Pociag, 1959) constitute some of that movement's best work. 　　Other noted works by Kawalerowicz include Mother Joan of the Angels (Matka Joanna od aniolów, 1961) and a 1966 adaptation of Boleslaw Prus' historical novel, Pharaoh, which was nominated for the Academy Award for Best Foreign Language Film.