去年、自身が歌ったCMソング「海の声」が総配信数100万ダウンロードを突破し、紅白歌合戦初出場を果たした桐谷健太。個性派俳優としてドラマや映画、舞台で着実にキャリアを積み上げながらも、近年アーティストとしてその活躍の幅を広げつつある37歳だ。 　　番組では多忙を極める桐谷に密着。紅白歌合戦や日本有線大賞・日本レコード大賞受賞の舞台裏から、あの人気CM撮影当日に迎えた37歳の誕生日。更にはベルリン国際映画祭（ドイツ）に出席し初めて海外でレッドカーペットを歩く姿まで…怒涛の日々の中で桐谷が大切にしているたった一つの哲学は“楽しむ”ことだという。 　　「気持ちいい事を発信していったほうが、気持ちいいじゃないですか…」 　　どの現場スタッフに対しても常に笑顔、常にサービス精神旺盛で、取材中に近寄って来た街の人全員とも楽しそうに会話をし握手をする姿が印象的な桐谷だが、本人曰く「カメラの前ではいつもより構えてしまう・・・」 　　果たして本当の桐谷健太とはどんな男なのか？4ヶ月間の取材を通して見えてきたのは朗らかな笑顔からは想像出来ない意外な過去だった。かつて桐谷を襲った深い絶望。そしてそこから彼を救ったある出来事とは…。知られざるその素顔に迫る。

An animated adaptation of Nikolai Gogol's classic short story about an office worker (Cillian Murphy) who saves all his money to buy a new coat in time for Christmas, only to have fate take a ghostly hand.

Based on Nikolai Gogol's story with the location changed from Russia to Italy and the time changed to the present (1952), the story is about a poor city-hall clerk (Renato Rascel) whose only desire is for a new overcoat. The town Mayor (Giulio Stival) is planning a reception for some visiting VIP's in honor of a new, wasteful piece of construction. The clerk bungles his assignment and is fired. But he stumbles onto some bribery concerning the architects and, to keep him quiet, he's given his job back plus a bonus. He buys his long-cherished overcoat, and it makes him so presentable he wins newly-found respect from everybody. But his coat is stolen and the bitter weather causes him to contact a fever and he dies. His funeral upsets the Mayor's reception when he returns as a ghost. Written by Les Adams {[email protected]}

"Shinel" (The Overcoat) was a film directed by the great but communist duet of Herr Grigori Kozintsev und Herr Leonard Trauberg. It was based in the eponymous book written by the Russian Herr Nikolai Gogol. It must said that Herr Kozintsev und Herr Trauberg were inspired by another Gogol oeuvre, "Nevsky Prospect" for the prologue of the film. It shows the anodyne youthful of the poor clerk Akaky Akakiyevich Bashmachkin, the main character of the film. The film extends this and goes deeply into the reason why Herr Akakiyevich needs and spend his savings on an elegant overcoat. 　　"Shinel" it is a film about appearances and the importance to wear a uniform or rich clothes (well, concerning this the aristocracy are great experts thanks to centuries of impeccable tailoring…). It has many Expressionist references, not only in the way these Russian directors filmed and resolved the story. Especially remarkable are the different camera angles and the editing of this film; it's not German style at all, but it is superb camera work. There are instances that are deeply sarcastic and ironic; the sets and the actors performances are notable. 　　The film it is for many moments, a satire, with exaggerated and deliberate performances. It's even experimental in many aspects. The movie mixes up different European film styles. It shows different social conditions such as middle-class dullness and the extravagant and false bourgeoisie. Here's an ordinary vanity fair that goes bizarre with remarkable scenery. "Shinel" was photographed masterly by another communist pair, Herr Yevgeni Mikhajlov und Herr Andrei Moskvin, who manages in particular to emphasize the oppressive atmosphere that surrounded that poor clerk.

1979年，在制作完《故事中的故事》之后，Yuriy Norshteyn开始构思自己的下一个动画。这部名叫《外套》的动画将是一部约60分钟的动画电影，它改编自俄国著名作家果戈理的同名小说。影片的进展非常缓慢，到了1986年，动画只完成了10分钟，后来Norshteyn在家乡成立了自己的工作室继续这部动画的制作。动画制作一直困难重重，虽然资金一直很紧张，但Norshteyn还是拒绝了俄国文化部的资助，并表示：一个人不能接受那些从不关心他的人的钱。1999年，Norshteyn的亲密战友，摄影师Aleksandr Zhukovskiy 去世，这给了Norshteyn沉重的打击，其后由Zhukovskiy的学生担当影片的摄影。2005年Norshteyn接受采访时表示，影片已经完成拍摄了25分钟（实际制作则更长）。Norshteyn追求完美的作风为他赢得了“金蜗牛”的称号，他拒绝了很多国外的机会，因为他觉得舒适的环境会消磨他的意志。如果Norshteyn在2012年任不无法完成这部动画，那么这部动画将超过Richard Williams的《小偷与鞋匠》，成为世界上制作周期最长的动画。

Одинокий маленький человек делается заложником мечты о вещи, способной, по его мнению, полностью изменить его жалкое существование. Но сможет ли новая шинель сделать его счастливым.

正值壯年的嚕米曾是無家者，因家庭失和、創業失敗，過上居無定所的生活長達十年，直到他加入作家林立青創立的「友洗社創」，透過洗地工作累積專業技能，也開始有能力存錢、租屋。然而，過去的經歷卻持續影響著他。

1975年創辦的「山海塾」為舞踏界的代表性團體，在天兒牛大極具高度美學的編舞之下，推向更具可塑性的明亮宇宙，有別於其他強調「黑暗」暴力的舞踏團體，將肢體技巧轉為闡述超現實的工具。1986年第七部舞作《卵熱》在水畔的神聖儀式中，如靈魂般的個體不停地崩解、再生，無時間性地存在於生與死之間。天兒牛大說：「舞者的身體像一個水就要溢出的杯子，多一滴都不行，他們的身體已進入極端的平衡狀態。」他是舞台上的祭司，是暗黑舞蹈裡的白色舞踏，在沙、水、土的自然元素裡呈現生命的優雅高貴。