影片由两个爱情故事组成，first, second, third （一而再三）和love is a book（爱是一本书）。 　　前者讲的是一对男性恋人，从性关系开始，到产生情愫，彼此坦诉的相识和相恋。后者讲的是一对女性恋人，时隔多后的重逢时刻，过去情感的翻涌和对现实的无奈，强烈碰撞。爱是一本书，他们处在情感的不同篇章，却有着相似的、暧昧的、纯粹爱恋。

影片由两个爱情故事组成，first, second, third （一而再三）和love is a book（爱是一本书）。 　　前者讲的是一对男性恋人，从性关系开始，到产生情愫，彼此坦诉的相识和相恋。后者讲的是一对女性恋人，时隔多后的重逢时刻，过去情感的翻涌和对现实的无奈，强烈碰撞。爱是一本书，他们处在情感的不同篇章，却有着相似的、暧昧的、纯粹爱恋。

一个男人来到图书馆，归还自己借了多年的书，却发现图书馆即将关门大吉。

一个男人来到图书馆，归还自己借了多年的书，却发现图书馆即将关门大吉。

新一季将完成一次新时代丝绸之路的文化之旅，全片共8集，每集30分钟。 　　两年的时间里，摄制组沿着古丝绸之路，通过西安、银川、乌鲁木齐、福州、圣…

《一本书一座城》是浙江卫视主持人李晗担任制片人兼主持人的首档城市文化纪录片，以一本书为视角切入城市，讲述这座城市的历史、人文、风俗等。节目融合…

A description of the measures taken to protect the health both of married and unmarried mothers and their children through "Mother Help" (Mødrehjælpen) - a humanitarian organisation aiding young mothers with children. The theme is illustrated by taking a simple story of an unmarried mother. All the parts are played by natural types. 　　The film was produced by Dansk Kulturfilm for the Joint Committee of the Mother's Aid Institutions (Mødrehjælpens Fællesraad) in 1942 and added to the Social Denmark series in 1947. One of the two short Danish dialogue sequences has been eliminated from the English version. 　　In 1940, Ebbe Neergaard published En Filminstruktørs Arbejde ("A Film Director’s Work"), the first ever Dreyer biography. At a reception for the book, Dreyer was first introduced to Mogens Skot-Hansen. The next day Dreyer called him up, suggesting that they co-write a feature film adapting the play Anne Pedersdotter. Skot-Hansen, who had been involved in screenwriting before, was honoured and accepted the offer. They co-wrote the screenplay and Skot-Hansen tried to sell the Anne Pedersdotter project to Nordisk Film. He recalls the pitch as follows: 　　"Nordisk executive Brøndum was very commercial and thought like a calculator. I made a deal with him: Dreyer would do a short film for Nordisk – and afterwards Nordisk would finance his feature film. That short film was Good Mothers." 　　He made Nordisk Film promise to produce the film if Dreyer proved that he could stick to a budget. 　　"I spoke with Dreyer on Friday and he immediately contacted a lady at Mødrehjælpen [Mothers Aid, ed.]. On Monday already he provided all kinds of information on the subject and had written a script, utterly perfect." 　　Good Mothers was shot in the summer of 1942 at Nordisk Film with a cast of non-actors, many of them affiliated with Mødrehjælpen. Kristian, a small boy who is brought along to Mødrehjælpen by Erna (Hjørdis Jacobsen), is played by the son of Vera Skalts who headed the organisation for many years. 　　The dramatised parts suffer severely from bad acting, but otherwise the film is neatly put together, although that does not mean that it looks anything like a Dreyer film. It is dated in many ways. Apart from the film’s moral and legal datedness, its language is gratingly old-fashioned. Erna teaches a "simple children’s song" at a parenting class that goes: 　　Poor little Negro boy 　　He is black from head to toe 　　So he must always go 　　Poor little Negro boy. 　　Dreyer finished Good Mothers on time and on budget, so that was not why Nordisk Film got cold feet and reneged on producing Anne Pedersdotter. Dreyer, however, did get the studio’s permission to try and "place himself and Anne Pedersdotter with Palladium." Skot-Hansen showed Palladium the financial statements for Good Mothers, persuading chief executive Tage Nielsen to produce the film that would become Day of Wrath.

A description of the measures taken to protect the health both of married and unmarried mothers and their children through "Mother Help" (Mødrehjælpen) - a humanitarian organisation aiding young mothers with children. The theme is illustrated by taking a simple story of an unmarried mother. All the parts are played by natural types. 　　The film was produced by Dansk Kulturfilm for the Joint Committee of the Mother's Aid Institutions (Mødrehjælpens Fællesraad) in 1942 and added to the Social Denmark series in 1947. One of the two short Danish dialogue sequences has been eliminated from the English version. 　　In 1940, Ebbe Neergaard published En Filminstruktørs Arbejde ("A Film Director’s Work"), the first ever Dreyer biography. At a reception for the book, Dreyer was first introduced to Mogens Skot-Hansen. The next day Dreyer called him up, suggesting that they co-write a feature film adapting the play Anne Pedersdotter. Skot-Hansen, who had been involved in screenwriting before, was honoured and accepted the offer. They co-wrote the screenplay and Skot-Hansen tried to sell the Anne Pedersdotter project to Nordisk Film. He recalls the pitch as follows: 　　"Nordisk executive Brøndum was very commercial and thought like a calculator. I made a deal with him: Dreyer would do a short film for Nordisk – and afterwards Nordisk would finance his feature film. That short film was Good Mothers." 　　He made Nordisk Film promise to produce the film if Dreyer proved that he could stick to a budget. 　　"I spoke with Dreyer on Friday and he immediately contacted a lady at Mødrehjælpen [Mothers Aid, ed.]. On Monday already he provided all kinds of information on the subject and had written a script, utterly perfect." 　　Good Mothers was shot in the summer of 1942 at Nordisk Film with a cast of non-actors, many of them affiliated with Mødrehjælpen. Kristian, a small boy who is brought along to Mødrehjælpen by Erna (Hjørdis Jacobsen), is played by the son of Vera Skalts who headed the organisation for many years. 　　The dramatised parts suffer severely from bad acting, but otherwise the film is neatly put together, although that does not mean that it looks anything like a Dreyer film. It is dated in many ways. Apart from the film’s moral and legal datedness, its language is gratingly old-fashioned. Erna teaches a "simple children’s song" at a parenting class that goes: 　　Poor little Negro boy 　　He is black from head to toe 　　So he must always go 　　Poor little Negro boy. 　　Dreyer finished Good Mothers on time and on budget, so that was not why Nordisk Film got cold feet and reneged on producing Anne Pedersdotter. Dreyer, however, did get the studio’s permission to try and "place himself and Anne Pedersdotter with Palladium." Skot-Hansen showed Palladium the financial statements for Good Mothers, persuading chief executive Tage Nielsen to produce the film that would become Day of Wrath.

Nora, la soixantaine, femme de ménage de son état, veille sur sa petite famille dans une cité des quartiers nord de Marseille. Après une longue période de chômage, un soir de mauvaise inspiration, son fils aîné Ellyes s’est fourvoyé dans le braquage d’une station-service. Incarcéré depuis plusieurs mois, il attend son procès avec un mélange d’espoir et d’inquiétude. Nora fait tout pour lui rendre cette attente la moins insupportable possible…

Nora, la soixantaine, femme de ménage de son état, veille sur sa petite famille dans une cité des quartiers nord de Marseille. Après une longue période de chômage, un soir de mauvaise inspiration, son fils aîné Ellyes s’est fourvoyé dans le braquage d’une station-service. Incarcéré depuis plusieurs mois, il attend son procès avec un mélange d’espoir et d’inquiétude. Nora fait tout pour lui rendre cette attente la moins insupportable possible…