郭沫若留学日本时，去东京某医院为一位刚去世的朋友料理后事，与护士生佐藤富子邂逅，擦出爱的火花。同年12月，他们不顾世俗的压力、家庭的阻拦毅然结合。富子失去了贵族名分，却因其勇敢、叛逆的性格酷似安娜·卡列尼娜，而得到了爱人给予的美丽的中国姓名“郭安娜”。 　　此时的中国正值五四运动前期，郭沫若弃医从文。1921年他与郁达夫、成仿吾等人组织了“创造社”，树起了中国近代文学史上一面光辉旗帜。他本人的作品《女神》等也像革命的号角，响彻风起云涌的中国大地。 　　诗人的家庭生活却陷入无法言状的窘迫之中，时常居无定所，食不果腹。这对坚韧的夫妻以相互的温存与忍让笑对人生，驾驭着爱情的小舟颠簸前行。1923年春，郭沫若携妻儿回国，投笔从戎，参加北伐。“四·一二”前夕，他写了讨蒋檄文《请看今日蒋介石》，险遭屠杀。 　　10年的流亡岁月中，郭沫若过着囚徒般的生活。但有妻子同心同德，他们的家庭就是一个宁静的港湾。20世纪30年代初期，郭沫若便以对中国历史、甲骨文等方面卓越的研究成果，蜚声中外。 　　1937年，抗日战争全面爆发，残酷的形势只容郭沫若独自秘密回国，安娜却惨遭日本军国主义者的迫害。10年之后，郭沫若与安娜相见于香港，因为种种原因，他们不得不接受破镜不可再重圆的事实。 　　1950年，安娜正式加入中国国籍，开始了崭新的生活历程。

郭沫若留学日本时，去东京某医院为一位刚去世的朋友料理后事，与护士生佐藤富子邂逅，擦出爱的火花。同年12月，他们不顾世俗的压力、家庭的阻拦毅然结合。富子失去了贵族名分，却因其勇敢、叛逆的性格酷似安娜·卡列尼娜，而得到了爱人给予的美丽的中国姓名“郭安娜”。 　　此时的中国正值五四运动前期，郭沫若弃医从文。1921年他与郁达夫、成仿吾等人组织了“创造社”，树起了中国近代文学史上一面光辉旗帜。他本人的作品《女神》等也像革命的号角，响彻风起云涌的中国大地。 　　诗人的家庭生活却陷入无法言状的窘迫之中，时常居无定所，食不果腹。这对坚韧的夫妻以相互的温存与忍让笑对人生，驾驭着爱情的小舟颠簸前行。1923年春，郭沫若携妻儿回国，投笔从戎，参加北伐。“四·一二”前夕，他写了讨蒋檄文《请看今日蒋介石》，险遭屠杀。 　　10年的流亡岁月中，郭沫若过着囚徒般的生活。但有妻子同心同德，他们的家庭就是一个宁静的港湾。20世纪30年代初期，郭沫若便以对中国历史、甲骨文等方面卓越的研究成果，蜚声中外。 　　1937年，抗日战争全面爆发，残酷的形势只容郭沫若独自秘密回国，安娜却惨遭日本军国主义者的迫害。10年之后，郭沫若与安娜相见于香港，因为种种原因，他们不得不接受破镜不可再重圆的事实。 　　1950年，安娜正式加入中国国籍，开始了崭新的生活历程。

年轻少年季飞车祸后醒来，发现自己被困诡异密室。冰冷机械音宣布：唯有通过七重人性试炼，方能重生归来。傲慢、嫉妒、暴怒、懒惰……每扇门后都是他过往人生的镜像倒影。在这里，他曾欺负过的女孩化为审判者，被忽视的真心成为致命利器。财富与权势第一次毫无用处，他必须直面那个连自己都厌恶的灵魂。

A compilation of performances including extracts from 'Raymonda', 'Romeo And Juliet' and 'Swan Lake'. Also an interview with Maya Plisetskaya about her life and career. 　　 　　This DVD has two parts. The first, 71 minutes long, called “In Performance,” is a visual retrospective of Maya Plisetskaya’s career; an assemblage of film clips highlighting the virtuosity of her dancing and variety of the roles she assumed. She was an outstanding dancer, combining technical brilliance with a keen understanding of the characters she played. Plisetskaya not only had charisma, she had dramatic flare and stage presence. Blessed with an extremely flexible body, she was capable of bending backwards to a remarkable degree, a feat used to great effect when combined with high leaps. In her roles as a swan, Odette and The Dying Swan, she could produce a ripple that undulated through the length of her arms effectively creating the illusion of beating wings. 　　 　　Plisetskaya graduated from the Moscow Bolshoi Ballet School in 1943, when she joined the Bolshoi Ballet as a soloist. Two years later, she became a Ballerina and danced the standard ballerina roles, including Raymonda, Odette/Odile, Kitri, Juliet, and Princess Aurora. In the early 1960s, Plisetskaya was hailed prima ballerina assoluta of the Bolshoi. Julia Lukjanova, in the accompanying booklet, describes Plisetskaya as the “Maria Callas of the ballet.” Unlike Callas, Plisetskaya has lived a long life, and by changing the direction of her career, has enjoyed a long professional life. Plisetskaya was instrumental in expanding the Bolshoi’s repertoire to include modern and experimental works, some of which are glimpsed in this video. 　　 　　With the exception of three works (the Bach Prélude, Saint-Saëns’s The Dying Swan, and Ravel’s Boléro), glimpses are all we get, leaving the viewer begging for more. The snippets from the full-length ballets, most filmed before an audience—a few on soundstages, reveal dancing on an extraordinary level. The film quality varies from acceptable to quite good; some segments are in black and white, others in color. The picture is full screen (NTSC 4: 3), and although the sound format is described as PCM stereo, many segments are monophonic. 　　 　　The second part of the DVD, titled “In Conversation,” is a lengthy (53 minutes) aural memoir by Ms. Plisetskaya and her husband, composer/conductor Rodion Shchedrin. Additional clips of her dancing are included, as well as a number of still photographs of events and people in her professional and personal lives. She and her husband tell of life in the Soviet Union, how she was stalked by the KGB, how her father was murdered and her mother imprisoned, and how she was denied an international career by the Soviet government. Shchedrin’s outpouring of devotion and affection for his wife is a touching finale to this very interesting interview. 　　 　　The two sections, the dance retrospective and the interview, are accessed separately from the main menu. The dance portion is divided into 12 chapters; the interview has 19 chapters. Subtitles for the interview are available in four languages (English, German, French and Spanish). Both parts are pleasures to watch. The film clips of her dancing, many of which are regrettably brief, allow us to glimpse her extraordinary talent; the conversation is interesting and it, too, leaves the viewer wishing for more. If you love ballet, spending two hours with Maya Plisetskaya is a valentine.

A compilation of performances including extracts from 'Raymonda', 'Romeo And Juliet' and 'Swan Lake'. Also an interview with Maya Plisetskaya about her life and career. 　　 　　This DVD has two parts. The first, 71 minutes long, called “In Performance,” is a visual retrospective of Maya Plisetskaya’s career; an assemblage of film clips highlighting the virtuosity of her dancing and variety of the roles she assumed. She was an outstanding dancer, combining technical brilliance with a keen understanding of the characters she played. Plisetskaya not only had charisma, she had dramatic flare and stage presence. Blessed with an extremely flexible body, she was capable of bending backwards to a remarkable degree, a feat used to great effect when combined with high leaps. In her roles as a swan, Odette and The Dying Swan, she could produce a ripple that undulated through the length of her arms effectively creating the illusion of beating wings. 　　 　　Plisetskaya graduated from the Moscow Bolshoi Ballet School in 1943, when she joined the Bolshoi Ballet as a soloist. Two years later, she became a Ballerina and danced the standard ballerina roles, including Raymonda, Odette/Odile, Kitri, Juliet, and Princess Aurora. In the early 1960s, Plisetskaya was hailed prima ballerina assoluta of the Bolshoi. Julia Lukjanova, in the accompanying booklet, describes Plisetskaya as the “Maria Callas of the ballet.” Unlike Callas, Plisetskaya has lived a long life, and by changing the direction of her career, has enjoyed a long professional life. Plisetskaya was instrumental in expanding the Bolshoi’s repertoire to include modern and experimental works, some of which are glimpsed in this video. 　　 　　With the exception of three works (the Bach Prélude, Saint-Saëns’s The Dying Swan, and Ravel’s Boléro), glimpses are all we get, leaving the viewer begging for more. The snippets from the full-length ballets, most filmed before an audience—a few on soundstages, reveal dancing on an extraordinary level. The film quality varies from acceptable to quite good; some segments are in black and white, others in color. The picture is full screen (NTSC 4: 3), and although the sound format is described as PCM stereo, many segments are monophonic. 　　 　　The second part of the DVD, titled “In Conversation,” is a lengthy (53 minutes) aural memoir by Ms. Plisetskaya and her husband, composer/conductor Rodion Shchedrin. Additional clips of her dancing are included, as well as a number of still photographs of events and people in her professional and personal lives. She and her husband tell of life in the Soviet Union, how she was stalked by the KGB, how her father was murdered and her mother imprisoned, and how she was denied an international career by the Soviet government. Shchedrin’s outpouring of devotion and affection for his wife is a touching finale to this very interesting interview. 　　 　　The two sections, the dance retrospective and the interview, are accessed separately from the main menu. The dance portion is divided into 12 chapters; the interview has 19 chapters. Subtitles for the interview are available in four languages (English, German, French and Spanish). Both parts are pleasures to watch. The film clips of her dancing, many of which are regrettably brief, allow us to glimpse her extraordinary talent; the conversation is interesting and it, too, leaves the viewer wishing for more. If you love ballet, spending two hours with Maya Plisetskaya is a valentine.

这两人是竞争对手，从彼此能交流起就开始争夺各类奖项：幼儿园时，争夺小诺帕玛斯（儿童选美比赛）奖项；小学时，竞争学校管弦乐队第一鼓手的位置；高中时，角逐啦啦队队员之位；大学时，比拼谁能成为舞会皇后。直到最近这次争夺业内最佳女演员的比赛中，片场发生了一场意外……然后……

改編自Prabhat Kumar Mukherjee的同名小說。Doyamoyee的丈夫在外地唸書，而她那位高權重的公公深信她是印度Kali女神的轉世，堅持媳婦必須受到敬仰。當她丈夫知道後返回家中，他嘗試讓父親理解，但父親卻無動於衷，對他來說，那些奇蹟痊癒的人，在在證明他所深信的是真的，但真相又是什麼？

改編自Prabhat Kumar Mukherjee的同名小說。Doyamoyee的丈夫在外地唸書，而她那位高權重的公公深信她是印度Kali女神的轉世，堅持媳婦必須受到敬仰。當她丈夫知道後返回家中，他嘗試讓父親理解，但父親卻無動於衷，對他來說，那些奇蹟痊癒的人，在在證明他所深信的是真的，但真相又是什麼？

冬末春初季节，海萌突然接到父母车祸身亡的恶耗，遂返家展开一段奔丧之旅。研究兰花的父母仅留给她一株名叫‘女神七号’的台湾原生种蝴蝶兰P.aphrodite以及父亲的学生助理：小光。两人必须一起生活，等待丧礼结束、等待‘女神七号’开花，迎接生命新的花期来临。

冬末春初季节，海萌突然接到父母车祸身亡的恶耗，遂返家展开一段奔丧之旅。研究兰花的父母仅留给她一株名叫‘女神七号’的台湾原生种蝴蝶兰P.aphrodite以及父亲的学生助理：小光。两人必须一起生活，等待丧礼结束、等待‘女神七号’开花，迎接生命新的花期来临。