Rodrigo, a film director, intends to make a film about the Conquest in a remote village in the Bolivian altiplano. Initially receptive to the idea, the Indian community living there reacts violently when some local wildlife is destroyed. Para recibir el canto de los pájaros is a little more subtle in its portrayal of cultural conflict than Sanjinés's earlier film, Yawar Mallku — where violence is seen as the only legitimate response to western cultural domination — for it not only shows that not all that is western is bad, but it even highlights negative elements within Andean culture. Most important for this discussion, Para recibir el canto de los pájaros plays with the film-within-a-film convention inherited from Hollywood, but it sometimes tricks the spectator making him unsure as to whether a scene is part of the film or part of the everyday reality of a film crew from La Paz in the Andes. Underlying the scene in which the producer, Pedro Barrón, emerges from the pit in which he has been trapped, and sees his Conquistador double walk nonchalantly past him, is the crucial notion of self-consciousness. Pedro realizes that his role as film producer in the late twentieth century is a re-enactment of 'his' role as Conquistador in the early sixteenth century. The spectator is drawn into this playing-off of two time-continuums, and in effect achieves a double-consciousness in which he can see Aymara culture from within and also from without. 　　A heavy-handed allegory by a veteran Bolivian film-maker about the racism endemic in his country and the more universal inability to learn from history. It opens with masked conquistadors (the harquebus angels) lined against the Andean altiplano skyline, as a mainly mestizo film crew track up the hill like Aguirre's invading army in Herzog's Wrath of God. Thus begins a series of broad parallels, culminating in a siege, whereby the crew, assailed by the Indian community (who have refused to be in their historical movie), almost resort to the use of the ancient harquebuses in their possession. The song of the title refers to the birds of the Indians' annual music festival: the crew shoot them for sport. Beautiful scenery.

在1994年卢旺达大屠杀中，波兰的鸟类学家安娜救下了图西族少女，带她回到了波兰。但是过去的伤痛无法使两人获得内心平静，她们只好重新回到非洲，寻找过去的回忆……战争残忍，痛感真实。

砂刑历93年——被砂海覆盖的世界中有一群人生活在小岛一般的漂泊船“泥鲸”上。这个完全与外界隔离的岛上有513人。分为拥有以感情发动源的超能力“…

Popular New York band leader Terry Rooney (Cagney) is offered a lucrative film contract out in Hollywood. Rooney and his soon-to-be wife pack up and head for California. Upon arriving, they meet Mr. Regan, the head of the studio, who believes that Rooney's true lack of desire for stardom is arrogance on the band leader's part. When his first film is huge success and a hit for the studio, Regan tries to hide the truth from Rooney. Feeling a need to get away from Hollywood, Rooney takes his wife on a South Seas honeymoon cruise, only to return to the real truth of his fame.

First occupied by the Soviets in 1939, then by the Nazis, and then by the Soviets again, Estonia lived through decades of terror. By the end of World War II, more than one-quarter of the population had been deported to Siberia, been executed, or had fled the country. Music sustained the Estonian people during those years, and was such a crucial part of their struggle for freedom that their successful bid for independence is known as the Singing Revolution. The Singing Revolution is the first film to tell this historically vital tale. “This is a story that has not been told outside Estonia,” said filmmaker James Tusty, who is of Estonian descent. “We felt it was time the rest of the world knew of the amazing events that happened here.” In 1999, Tusty and his wife and co-producer Maureen lived in Tallinn, Estonia, while teaching film production at an Estonian University. The experience sparked their interest in the Singing Revolution, and in 2001 they returned to Estonia to teach and also to begin the meticulous research that would anchor their documentary. To make the film, the Tustys interviewed more than forty movement leaders, Estonian statesmen, and average citizens. They also combed through archives around the world...unearthing rare, forgotten footage of life under Soviet rule. Four years in the making, The Singing Revolution is a moving, intensely human testament to the sustaining power of hope and the motivating strength of song. The film reflects the indomitable human drive for personal freedom, political independence, and self-determination. The Singing Revolution was produced by Mountain View Productions with Allfilm and Northern Light Productions, and in association with the U.S.-Baltic Foundation, The Estonian American National Council, and the Moving Picture Institute. The executive producers are Steve and Karla Jurvetson. The producers are the Tustys, Bestor Cram, Piret Tibbo-Hudgins, and Artur Talvik. The directors are the Tustys and Mike Majoros. The film was edited by Mike Majoros and written by Majoros and the Tustys.

《歌唱韩国》节目组走访韩国各地，从城市到乡村，发掘藏在民间的歌唱高手和多才多艺的普通人，为他们提供展示才艺、代表家乡的机会。无论是年轻的创业青年，还是白发苍苍的长者，只要有才艺、有故事，都能站上《歌唱韩国》的舞台。 　　节目由资深主持人赵英九担任MC，他凭借亲切稳重的主持风格，将现场气氛引导得自然热烈。每期节目邀请当地主政官员、音乐人和知名歌手参与互动，同时设有“外景巡演”和“家乡特色宣传”环节，让观众不仅能欣赏歌唱比赛，还能近距离了解韩国各地的风土人情、饮食文化与历史底蕴。节目走进庆尚北道的历史名城高灵，与近千名居民同乐。在传统与现代融合的舞台上，展开了一场融合乡土情怀与才艺对决的音乐盛宴。节目还特别结合高灵郡的特产——草莓，策划了“即兴推广大使选拔赛”等互动游戏，增强了观众的参与感和地方的共鸣，成为一档真正“唱响家乡、连结国民”的共感综艺。

《裸男歌唱》（英文：Naked Boys Singing!），是一部改編自美國1998年3月19日公映，曾奪得五個托尼獎[1]，同名百老匯音樂劇的2007年歌舞片喜劇電影，此片特別之處是所有演員都會全裸演出，而且全為男性[2]。 　　故事以單元進行，各單元都為獨立故事，對白則以歌唱形式進行，內容大部分用滑稽方式描述男同性戀者生態，生活點滴，或諷刺時弊，探討禁忌，唯裸體之外，不涉色情[1][2]。 　　導演特洛伊·克里斯汀（Troy Christian）向大眾解釋電影涵意：「我希望《裸男歌唱》能令觀眾大開眼界和放開胸懷，裸體，不等於色情[3]。」 　　另外導演也想帶出人人平等的信息，十個演員代表老、少、胖、瘦、黃種人、黑人、白種人、拉丁美裔人等等，而部分故事，則為編劇親身經驗改編而成[3]。

根据露易丝·艾尔德里希长篇小说《屠宰师歌唱俱乐部》改编，战后有不少德国人去美国谋生，费德里斯也千里迢迢来到美国西部，为了开创新的生活，他干起了老本行…

Tormented and bedridden by a debilitating disease, a mystery writer relives his detective stories through his imagination and hallucinations.

根据露易丝·艾尔德里希长篇小说《屠宰师歌唱俱乐部》改编，战后有不少德国人去美国谋生，费德里斯也千里迢迢来到美国西部，为了开创新的生活，他干起了老本行…