马蒂亚斯是一位怀揣文学梦想的年轻人，他离开蒙特利尔的广告行业，前往法国南部成为了一名牧羊人。然而，通往他向往的田园宁静之路却充满艰辛。伊莉丝是一位毅然辞职的公务员，她的来访为马蒂亚斯的探索之旅带来了新的方向。两人携手踏上迁徙之旅，在山区的挑战和对羊群的照料中，共同开创属于自己的新生活。

埃里克·布莱克在妻子神秘死亡后迷失了自己。他找到一份新的牧羊人工作，发现自己被困在一座雄伟的、饱经风霜的超自然岛屿上，这份牧羊的工作渐渐变成了一场拯救他命运的比赛。。。

神父丹尼尔本来过着安逸的生活，某一天的一桩凶杀案改变了这平静的一切。年轻的神父安德鲁是最大的嫌疑犯，他指定丹尼尔聆听他的忏悔。丹尼尔逐渐相信安德鲁是无辜的，而唯一认同丹尼尔判断的是他当记者的前女友，到底事情的真相最后能不能浮出水面？

游牧的生活方式，一直是哈萨克民族的根基，但是城市化的推进使游牧为生的这种方式逐渐堕落，这种转变，对牧民来说无奈而又迷茫，却不得不去承受、去尽力适应，甚至要去改变自己。主人公的家庭正在遭受着这样的冲击，孩子因为不适应没有家人陪伴的学校生活而逃离学校，开放的草场被开发公司购买封锁，赖以为生的羊群被扣住却没钱赎回……所有无奈和重压袭来，但这些，都不只是一个家庭的遭遇……

游牧的生活方式，一直是哈萨克民族的根基，但是城市化的推进使游牧为生的这种方式逐渐堕落，这种转变，对牧民来说无奈而又迷茫，却不得不去承受、去尽力适应，甚至要去改变自己。主人公的家庭正在遭受着这样的冲击，孩子因为不适应没有家人陪伴的学校生活而逃离学校，开放的草场被开发公司购买封锁，赖以为生的羊群被扣住却没钱赎回……所有无奈和重压袭来，但这些，都不只是一个家庭的遭遇……

一个孤独的牧羊人凭着一己之力和数十年的时间，在荒漠中种出了大片的树林，把土丘变成了绿洲。《种树的牧羊人》是Frédéric BACK先生1987年出品的一部代表作品，动画的剧本改变自法国作家Jean Giono在1953年出版的同名小说。整部动画片充满了诗意的叙述。与其说这是一个动画片，不如说它是一个精致的散文。淡泊而又意味深长，风格简约而又意味深长。叙事代替了色彩和形式成为主角。 　　2006年6月在法国安锡(Annecy)国际动画电影节上评选出的“动画的世纪·100部作品”荣登第五名。

Shot in Sicily, Sardinia and Calabria in the Fifties, the documentaries chronicle a lost world. They combine the strength of classical cinema with an austere and powerful expressiveness. Isole di fuoco (Island of fire, 1955), set in the Eolie islands, shows the impressive strength of the volcano. The documentary was awarded the First Prize at the Cannes Film Festival in 1955. A world where the ritual dimension is very strong, like in Lu tempu di li pisci spata (The swordfish season, 1955), on swordfish fishing "in the tepid water separating Sicily and Calabria". Hunt frenzy, worthy of Moby Dick, and the struggle between man and nature are also present in Contadini del mare (Peasants of the sea, 1955), dedicated to fishing with the tunny-fishing nets off the Sicilian coast, where men wait for tunas, which have always followed the same route: "When sea tribute appears in the net, the circle of life and death repeats". And, at sunset, when men go back ashore and children dance, solemn women carry the fishes on their head to the fish market (Pescherecci, Fishing boat, 1958 is on the same topic). The conditions of miners risking their lives in the bowels of the earth to extract the conditions of farm labourers scything and harvesting wheat in huge fields with primitive systems in Parabola d'oro (Golden parable, 1955) are not less dramatic. Then, Pasqua in Sicilia (Easter in Sicily, 1955) with its sacred folklore and the representation of the Passion of Christ. Pastori a Orgosolo (Orgosolo shepherds, 1958) and Un giorno in Barbagia (A day in Barbagia, 1958) are the two documentaries shot in Sardinia. They chronicle the isolated lives of shepherds in the very heart of Sardinia, where men live far away from their families most part of the year to pasture the flocks. 　　Vittorio De Seta - Born in Palermo in 1923 from an aristocratic family, he said that he "discovered" the world of the humbles during military service. He devoted to them most of his cinematographic work, undertaken after quitting the faculty of architecture. A withdrawn and shy author, for a long time underestimated by critics, he was often personally involved in film editing, photography and musical choices. After his Sicilian documentaries, in 1958 he shoots Pastori ad Orgosolo (Orgosolo shepherd) and Un giorno in Barbagia (A day in Barbagia) in Sardinia, which are at the basis of his feature film Banditi ad Orgosolo (Bandits of Orgosolo, 1961, Prize for the First Work at Venice Film Festival), a detailed in-depth analysis of an archaic civilization and its malaise. In 1966 he directed Un uomo a meta (Half a man) on the eccentricity of a politically-committed intellectual, giving rise to a lot of criticism (Moravia and Pasolini among the few defending him). After L'invitata (The invited woman, 1969), he met a resounding success in 1973 with the TV series Diario di un maestro (Diary of a schoolteacher). In 1981 he left cinema, but he was back in 1993 with the direction of In Calabria, in which he reflected again on the lost identity of the South of Italy. In 2004 he completed Lettere dal Sahara (Letters from Sahara) on an African migrant in Italy.

在日本国内居指可数的学校法人“汐美学园”不仅拥有众多学生宿舍、各种运动设施，还提供了餐厅甚至电车等资源，其中以规模仅次于国家图书馆的“大图书馆”最为引人注目。“图书社”的成员笕京太郎，经常一个人在大图书馆中悠闲地读书。 4月，从“不论什么样的愿望都能实现”的谜之牧羊人那里，收到了写着“今天，会有改变你的命运的事件吧”的邮件的笕，认识了白崎鸫。“为了让学园变得更快乐”而活动的鸫，和她的朋友樱庭玉藻、以及笕的朋友一起加入了图书社。之后，两位少女铃木佳奈与御园千莉也加入了。六个人都收到了牧羊人发的相同邮件。 以Cosplay的方式分发传单而提升了知名度的图书社收到了众多的委托，同时也收到了图书委员的小太刀凪的警告，。图书社虽然在活动的同时追查著关于牧羊人的谜团，但只有京太郎发现了其真实身分。 接着到了7月。经过图书社的活动，笕与成员们分担烦恼，有了更深入的接触。

A lively geologist working as an intern at the Prehistory and Paleontological Museum of Orce in Granada meets a badly hurt shepherd. This chance encounter plants the seed of Historia de pastores, an adventurous film that finds a perfect mixture between the old and the new. Dwelling equally on orality and charged silence, suggestion and contemplation, Jaime Puertas Castillo builds an engaging narrative of rural life in the south of Spain – punctuated by extraneous elements plus some powerful, surprising twists. 　　Discoveries regarding the prehistoric settlements of the region, stories about ancestors remembered and retold on Andalusian patios, homesteads that were once the centre of life but today lie in ruins, abandoned, forgotten… These are some of the images at the centre of the film. But this is no mere dive into the past. There’s also the internet causing mysterious afflictions, a drone lurking in the skies, a digital app with curious superpowers… With a small cast that guarantees authenticity – including a dedicated flock of sheep – Historia de pastores is a moving, humble and humorous film where the felt homage to tradition goes hand in hand with a taste for the supernatural and the fantastique.