25min/28min 　　Para Lorentz 1905——1982 　　风一般的传奇大师——帕尔·劳伦斯 美国 　　代表作：《开垦平原的犁》《大河》 　　远在美国30年代的罗斯福新政时期，当人们的目光都聚集在面包喝牛奶上的时候，帕尔·劳伦斯却援建卓越的关注着生态和自下而上的问题。起初丝毫不懂电影的他却一举拍摄出极为经典的两部纪录片——反映沙尘暴和洪水灾害的《大河》与《开垦平原的犁》，成为世界重大社会主体纪录电影的开创者，引起罗斯福总统的密切关注。之后，像流星划过夜空一样，1941年以随即封镜，电影带给他的容易一直便随他并不短暂的一生，他所开创的纪录电影风格至今仍然是纪录电影中的一股飓风，其力量来源于何处呢？

2019/Color/Chinese+English/hakka/52 mins 　　导演：張鳳英 / 甯元乖 　　总策划：李松 　　总监制：蓝静 　　总编审：张刚 / 庞涛 / 荣书琴 　　总制片：许雪莲 / 马秋晨 　　摄影：鬼叔中 / 颍川陈 / 张小邪 / 邱加贵 / 甯格 　　项目组：张 凤英 / 甯元乖 / 朱靖江 / 陈瑶 / 陈汝辉 　　剪辑：甯元乖 　　音乐：五条人 　　★影片简介 　　本片记录了2017年福建省连城县新泉村立春日的习俗。 每年农历立春前后，新泉张氏以房族为单位组织迎春。立春当夜，“犁春牛”队伍由农夫和牛领头，村民装扮成送谷种、送牛草、送田间饭、“渔樵耕读”等各种人物，少年手持鲤鱼灯、锣鼓、匾灯等随之在后，在松明火把的指引下，春牛队伍在新泉村内主要街道穿行，在祠堂、民居、商铺中做出犁田的动作。当立春的时辰来到，人们将顶部扎着油菜花的竹篙架在天井的屋檐上，接引春天的降临。 　　★导演阐述 　　“犁春牛”是一项春季农业习俗，渊源自古时的“迎春”仪式。新泉村是以张氏为主体的单姓村落，曾是汀江上游重要的水运中转中心。明清时期，新泉张氏藉此积累起丰厚财富，支撑其建立了完整严密、保存至今的宗族制度。“犁春牛”活动的实施与客家人的宗族组织关系密切，而新泉村的发展史也反映出明代以来闽西客家地区“礼仪下乡”的实践过程。 　　★展映获奖 　　2020年 中国民族学学会影视人类学分会第12届优秀学术成果单元“优秀影片奖” 　　2020年 西安碧山工销社 本社放映第三季 | 告土地：闽西客家春耕习俗丛录 　　2023年 第八届中国成都国际非遗节·首届“锦华奖”非遗影像展“最佳纪录短片奖” 　　2024年 甘肃省第十九届庆阳香包民俗文化节“非遗影展” 　　2025年 小津概念书房-闽西客家春耕习俗影像（深圳）

At 17:00 every day, Andrew, a middle-aged man, drives home from work through Melbourne’s outer suburbs in peak-hour traffic. Occasionally, he offers a lift home to a younger colleague, David. Over a year, their tentative small talk gives way to a warm friendship and open conversation within the confines of the vehicle, incrementally revealing their lives. 　　One may wonder what a three-hour film, set almost entirely in a car and shot with a fixed camera from the back, can deliver? The answer is an unexpectedly engaging and entertaining observation of the rhythms of daily life, and a catalogue of suburban worries. In sensorial terms, The Plains charts the passage of time as the seasons change. The pitter-patter of rain and the familiar cocoon of the car provide a sense of comfort and safety from the outside elements. The car is the liminal space between work and home, as the day is pondered, the night planned. Documentary elements exist beyond the windscreen, as a fiction courses through the vehicle. The Plains is a road movie unlike anything you have seen before.

At 17:00 every day, Andrew, a middle-aged man, drives home from work through Melbourne’s outer suburbs in peak-hour traffic. Occasionally, he offers a lift home to a younger colleague, David. Over a year, their tentative small talk gives way to a warm friendship and open conversation within the confines of the vehicle, incrementally revealing their lives. 　　One may wonder what a three-hour film, set almost entirely in a car and shot with a fixed camera from the back, can deliver? The answer is an unexpectedly engaging and entertaining observation of the rhythms of daily life, and a catalogue of suburban worries. In sensorial terms, The Plains charts the passage of time as the seasons change. The pitter-patter of rain and the familiar cocoon of the car provide a sense of comfort and safety from the outside elements. The car is the liminal space between work and home, as the day is pondered, the night planned. Documentary elements exist beyond the windscreen, as a fiction courses through the vehicle. The Plains is a road movie unlike anything you have seen before.

影片表现了农村的集体化过程。在这一过程中展示了农村生活和人的精神面貌的发展、变化和斗争。旧事物尚未完全死亡，但已无力抑制人们意识中由新事物引发的新思想的幼芽，从影片中可以看到农民群众精确的性格，可以捕捉到日常生活中的真实细节，人们富于特色的言谈举止和服装，以及细致的心理活动，同时可以看到哥萨克村的居民在生活大转折时期的精神状态和心理活动的变化。原著中的许多人物形象都在影片中得到生动的体现。

A troubled man runs away to Mexico and is recruited to join a paramilitary group of teens fighting the drug cartels. He proves himself to the group, but questions their motive.

在大时代的历史变迁下，三位青年从梅陵小镇而来，历经商、政、警界的一生，怀揣着各自的秘密，最终他们又将归向何处?

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