故事发生在1910年的巴西，在那里，两大家族之间的斗争从未停歇。布雷维斯家在家族战争中失去了他们的大儿子，这让老父亲（乔斯·多蒙特 José Dumont 饰）感到非常的悲伤，于是把复仇的希望寄托在了小儿子汤诺（罗德里格·桑托罗 Rodrigo Santoro 饰）的身上。父辈的仇恨剥夺了汤诺的童年和快乐，最终，当他手刃杀死哥哥的敌人后，感受到的并没有释然和救赎，仅仅是空虚。 汤诺找到了仇人的祖父，希望能够阻止两个家族无休止无意义的争斗，对方当然拒绝了，但是答应汤诺两家人在下一个月圆之夜前暂时停火。镇上来了一个美丽的姑娘克莱拉（Flavia Marco Antonio 饰）她的歌声和笑容深深吸引了汤诺。

本剧以客观的视角，纪实的手法，全面展示了当今医患矛盾的现状。在20多个案例中，有医院如何不负责任坑害患者，患者为自己利益如何讹诈医院，医药代表与大夫的钱色交易，医疗改革的艰难，人道主义与经济利益之间的尴尬，医疗事故处理和手术风险的法律问题等等。

剥开光鲜表象，探寻最真实的情绪共振。你，准备好直面背后的答案了吗？

一个女孩，两个太阳。

《太阳》以近未来的日本为舞台，描写了只能在夜晚生活的新人类与在太阳下生活的旧人类之间的对立和融合，是一部追寻生存意义的人情派作品。

二战末期，轴心国败局已定，作为“邪恶轴心”一员的日本更面临巨大危机。亚太战场节节失利，两颗原子弹进一步摧毁了日本人的心理防线。作为日本最高统帅的裕仁天皇（尾形一成 饰），此时此刻面临着痛苦的抉择。 黑云压城城欲摧，这个身形瘦小的男人，他的内心世界无人能近…… 本片为俄罗斯导演亚历山大•索科洛夫“20世纪统治者三部曲”（亦作“统帅三部曲”）中的第三部，前后制作共花费8年时间，影片被评为2005年亚美尼亚埃里温国际电影节最佳影片。

柏林电影节奇遇单元

我们正处于太阳科学的黄金时代。科学家们正在进行卓越非凡的探索，探究太阳核心的炽热及其表面的磁力混沌。本片探寻了太阳在过去、现在和未来对我们地球的重要性。太阳及日光层观测卫星和追踪卫星提供了一些能在电视上见过的太阳的最佳图片，展现了多年来只在日食时能看到的日光层。《太阳》探索了很多关于这颗星球的科学发现，以及为了满足世界急剧上升的经济需要，我们是否能够驾驭太阳的力量。

Sole is the first film by the great Alessandro Blasetti and bears a complex relationship to the reclamation of the Pontine Marshes, a seminal event in Fascist political history. Sole is also an important document in Italian film history. Its use of non-professional actors and location shooting began the movement away from studio spectacle and historical costume epic toward Italian film realism. Along with Blasetti's later film 1860 (1934), Sole includes many of the cinematic and humanistic traits of neorealism and underscores Blasetti's role as one of its progenitors. Background The film's subject is the massive, highly visible bonifica integrale ("integrated reclamation") project undertaken in 1929 by Mussolini to drain the Pontine marshes, located on the Appian Way some 30 miles southeast of Rome, between Anzio and Terracina. The marshes were a malarial swamp populated by a culturally rich but politically powerless native people, and therefore regarded as ripe for reclamation. The project aimed to replace the marshes with productive farmland and rural housing, and was a Fascist poster for public works and the "rural vocation of the Italian people". Settlers were provided with a standarized two-storey farmhouse of blue stucco with tiled roof, an oven, a plough, agricultural tools, a stable, some cows and several hectares of land. Mussolini was regularly photographed shirtless with workers and farmers, tool in hand, for inclusion in propaganda newsreels. Mussolini spearheaded the legislation, thereafter known as "Mussolini's Law". Work began in 1929, the year that Sole was made, and involved as many as 100,000 workers. Workers were paid poorly, interned in barbed wire camps with minimal care and sanitation, and malaria was rampant. Although Fascist agrarian ideals would have transformed the natives from primitive swamp dwellers to productive farmers, in fact, due to their unreliable politics, the natives were evicted and the five planned towns were populated with reliable supporters from strongly Fascist Northern Italy. Ironically, Anzio at the north end of the filled marshes later served as the Allied beachhead for a planned flank attack on German forces and a march on the "Open City" of Rome. To impede this, Germans turned off the drainage pumps to reflood the marsh, hoping to create a malarial net for the invaders. As a result, Allied and German soldiers fought malaria as well as each other, agriculture was devastated, houses were commandeered or destroyed, and the population was driven out. The area was physically devastated, undoing Il Duce's accomplishments. The film Sole has a complex relation to the Fascist project it documents. Outwardly it's a paeon to Fascist engineering and values such as the will toward progress, rural agrarian development, cultural homogenization and a positivistic spin on the "eternal conflict between civilization and regression". Mussolini reportedly admired the film in a private screening before its release. But the film resides ambiguously between Fascist values and a neo-realist appreciation for local culture and sympathy for the displaced swamp people and reclamation workers. Like 1860, Sole has non-professional actors, location shooting and a populist point of view, traits that were heralded 20 years later in La Terra Trema as the foundation of neorealism. The film offered here is the only known fragment – the first reel containing 265 m (about 9 minutes) of the original 76 mintues. The original negative was destroyed by the Nazis during the Roman occupation of 1943-1944. Sources: http://en.wikipedia.org/wiki/Pontine_Marshes http://en.wikipedia.org/wiki/Battle_of_Anzio http://covblogs.com/eatingbark/archives/2008/09/pontine_marshes.html http://histclo.com/country/it/reg/cent/lat/ircl-pont.html http://www.nytimes.com/2008/09/22/world/europe/22marsh.html Images: http://covblogs.com/eatingbark/archives/2008/09/pontine_marshes.html http://www.hks.harvard.edu/fs/rzeckhau/The_Five_Neglects.ppt http://log.doggerland.net/page/11/ http://histclo.com/country/it/reg/cent/lat/ircl-pont.html (filmnutz)