40-летний бродяга Леонид Ляшенко ограбил в поезде человека явно богатого и преуспевающего. Роясь в содержимом ворованного бумажника, он обнаруживает в нём паспорт на имя своего давнишнего друга детства Валеры Куненко. Ему вспомнились 50-е годы, маленький провинциальный городок Восточной Украины. Поначалу Валерка был хорошим парнем и часто выручал Леонида, но постепенно, вняв советам своего кумира - моряка дяди Васи, исповедующего принцип: для достижения цели все средства хороши, становится приспособленцем, предаёт друзей... И вот сейчас они совсем взрослые, непохожие друг на друга сидят в вагоне-ресторане: влиятельный чиновник Валерий Куненко и презирающий низкопоклонство, цинизм и бездушие бродяга Леонид Ляшенко, их беседа похожа на дуэль, а когда наступит утро, их дороги разойдутся уже навсегда...

40-летний бродяга Леонид Ляшенко ограбил в поезде человека явно богатого и преуспевающего. Роясь в содержимом ворованного бумажника, он обнаруживает в нём паспорт на имя своего давнишнего друга детства Валеры Куненко. Ему вспомнились 50-е годы, маленький провинциальный городок Восточной Украины. Поначалу Валерка был хорошим парнем и часто выручал Леонида, но постепенно, вняв советам своего кумира - моряка дяди Васи, исповедующего принцип: для достижения цели все средства хороши, становится приспособленцем, предаёт друзей... И вот сейчас они совсем взрослые, непохожие друг на друга сидят в вагоне-ресторане: влиятельный чиновник Валерий Куненко и презирающий низкопоклонство, цинизм и бездушие бродяга Леонид Ляшенко, их беседа похожа на дуэль, а когда наступит утро, их дороги разойдутся уже навсегда...

“I would like to propose a film that contributes to the concept of work. That compares the work of a traditional society, like in Africa, in an early industrial society such as India, and in a highly developed industrial society, in Europe or Japan. The object of comparison is to be the work in building houses. Houses to live in.” 　　This was written in Harun Farocki’s exposé from 2003 for a documentary project. “After initial research (...) I had the idea of using the brick, its manufacture and its processing as the object of comparison, explains Farocki. “We were looking for a great variety of uses for bricks – and we were looking for manufacturing processes that would possibly do away with bricks.” In India he filmed a brickworks whose threading machine was from the 1930s when Gandhi was organizing the anti-colonialist protest. The installation in northern France was operated by Moroccans who housed in barracks like POWs or forced labourers. In Mumbai apartment houses were built much like they are in Europe. No hand touched the products that came out of the highly mechanized factories in Germany. In Burkina Faso Farocki followed the communal work on a hospital ward and a school building with his camera: “I’ve never in my life been able to observed such a strange process so closely.” 　　The film does without commentary; there are only indications of the places and a few explanations offered in subtitles.

“I would like to propose a film that contributes to the concept of work. That compares the work of a traditional society, like in Africa, in an early industrial society such as India, and in a highly developed industrial society, in Europe or Japan. The object of comparison is to be the work in building houses. Houses to live in.” 　　This was written in Harun Farocki’s exposé from 2003 for a documentary project. “After initial research (...) I had the idea of using the brick, its manufacture and its processing as the object of comparison, explains Farocki. “We were looking for a great variety of uses for bricks – and we were looking for manufacturing processes that would possibly do away with bricks.” In India he filmed a brickworks whose threading machine was from the 1930s when Gandhi was organizing the anti-colonialist protest. The installation in northern France was operated by Moroccans who housed in barracks like POWs or forced labourers. In Mumbai apartment houses were built much like they are in Europe. No hand touched the products that came out of the highly mechanized factories in Germany. In Burkina Faso Farocki followed the communal work on a hospital ward and a school building with his camera: “I’ve never in my life been able to observed such a strange process so closely.” 　　The film does without commentary; there are only indications of the places and a few explanations offered in subtitles.

三石仁和同伴们成功打倒了罗刹王英邪之后，岩手终于再次得到了和平。可是最近有一个未知力量把罗刹王给复活了。不来方乔变身为鉄神岩光，再次和这邪恶力量对抗，同时早池峰健二和其他同伴则被困入异世界里。 唯有姬身结成功逃出魔爪，带着乔托付给他的血之御手符，将御手符交托给日高见新田。“拜托！你是我们最后的希望！”现在，新田在仍然迷迷糊糊地状况之下，变身为铁神岩光NEO，并且开始了与恶人对战的道路之上。 　　Since after the King Rasha , Hideja had been defeated by Mitsuishi Jin and his friends, Iwate regained the long lost peace. However, this great evil has been resurrected by some kind of force recenty. Kosukata Joe transformed into Ganriser and fights for it, meanwhile Hayachine Kenji and the rest are trapped in another world. Only Himekami Yui manages to escape from this, with the special blood amulet which entrusted from Joe, she passes the amulet to Hitakami Arata.“Please! You’re our only hope!”And now, Arata transforms into Ganriser NEO and starts his journey in battling with the evil while in puzzled.

宇宙星神是一部52集的大型国产科幻3D动画片，每集24分钟，由广州蓝弧文化传播有限公司出品，于2011年11月在上海炫动卡通开始播出。主角迪路、瑶瑶、小安、莉莉。讲述了四位人类少年围绕神秘物体—银河之星蕴含的宇宙未解之谜，而开始探索太阳系的九大行星之旅。

宇宙星神是一部52集的大型国产科幻3D动画片，每集24分钟，由广州蓝弧文化传播有限公司出品，于2011年11月在上海炫动卡通开始播出。主角迪路、瑶瑶、小安、莉莉。讲述了四位人类少年围绕神秘物体—银河之星蕴含的宇宙未解之谜，而开始探索太阳系的九大行星之旅。

一场太空灾难后，Jo（劳米·拉佩斯 Noomi Rapace 饰）返回了地球，但她发现自己生活中的关键部分似乎不见了。而Henry（乔纳森·班克斯 Jonathan Banks 饰），一位荣获诺贝尔奖的物理学家，他的秘密发现的答案由国际空间站上的Jo保密……直到她归来了。 　　这部充满动作戏的太空冒险剧集，是对人类心理黑暗边缘的探索，展现了一位女性不顾一切地寻求揭露太空旅行背后隐藏历史的真相，并找回她失去的一切。

一场太空灾难后，Jo（劳米·拉佩斯 Noomi Rapace 饰）返回了地球，但她发现自己生活中的关键部分似乎不见了。而Henry（乔纳森·班克斯 Jonathan Banks 饰），一位荣获诺贝尔奖的物理学家，他的秘密发现的答案由国际空间站上的Jo保密……直到她归来了。 　　这部充满动作戏的太空冒险剧集，是对人类心理黑暗边缘的探索，展现了一位女性不顾一切地寻求揭露太空旅行背后隐藏历史的真相，并找回她失去的一切。

故事讲述了在近未来，锦川市突发超自然恐怖袭击，主人公郭远成为了特应局和萤火组织争夺的关键，负责保护郭远的特应局干员云杉也卷入了事件中。此次事件同时指向二十年前名为“群星”的绝密计划，被抹去的秘密随着当年参与项目的核心成员白泓羽、郭森青、汪海成身份揭晓慢慢浮出水面…… 　　该剧改编自星云奖最佳长篇小说。