影片简介 　　乡下的新房就要收尾了，或许是盖房子还差些钱，或许是思念妻子，或许是梨熟了。于是丈夫在自家梨树下摘了满背篓的梨，去看望在县城工作的妻子，这是她最喜欢吃的。今年的生意不好做，可能是由于钱一直没有解决，丈夫在妻子做生意的地方住了下来，整天无所事事，心情沉重，到处游荡。在白昼的沉默，夜晚的喧闹中一切都发生着变化，而在妻子迎来送往的招呼声中，梨渐渐腐烂了…… 　　导演 　　张次禹 1981年出生，籍贯湖南，毕业于北京电影学院。主要作品：实验影像作品《状态》、《生命的故事》、《纸扎木房》。

We pick up the story on our main character's bus ride home. He sits alone, looking content, trying to pass the time. Then, something seems to get in his eye, because he rubs it and then closes the buses window. Something changes about him. He looks around and feels a strange disgust in the bus filled with quiet strangers also trying to get home and minding their own business. Pavel-Ivanovich is so disgusted that he gets off the bus several stops before his home and walks, arriving at dark. From here his story begins, and we go along for his sad ride. From that evening on he sees only sadness and wrong in everything. He can't respond to kindness, and scolds those closest to him. He offends everyone. At his work he tries to go against as many people as possible, and hurt ordinary citizens too. He also feels that everyone is against him. His condition seems to worsen. How will all this end. Sure this can't be the end for Pavel-Ivanovich, a good man somewhere deep inside. 　　The brilliance of this film lies in the main character's deep state of mind. His suffering. The fact that he hurts everyone around him, feels horrible about it but still does it until he almost loses everything. If you like film's where you feel that you can relate or feel the character's emotions, you might like this film. An incredible pressure is built up throughout the film, and the last scene, for me at least, magically lifts it, if only for a couple of seconds. 　　This is a strange film, and I don't say that a lot. It is very hard to describe, but the main elements that drive the feel of this film are the main character's state of mind and the music (more than half of the film has incredible original music playing in the background). Daneliya's films have incredible music like in Autumn Marathon, Kin-Dza-Dza, and Thirty-Three. Daneliyaa was into jazz and played drums in a band way back before he started making film so his films are very rich in music. Also this film is sad, but is also a comedy. All these elements mix to make an incredible movie

有乡人货梨于市，颇甘芳，价腾贵。有道士破巾絮衣，丐于车前。乡人咄之，亦不去； 　　乡人怒，加以叱骂。道士曰：“一车数百颗，老衲止丐其一，于居士亦无大损，何怒为？” 　　观者劝置劣者一枚令去，乡人执不肯。肆中佣保者，见喋聒不堪，遂出钱市一枚，付道士。 　　道士拜谢，谓众曰：“出家人不解吝惜。我有佳梨，请出供客。”或曰：“既有之，何不自 　　食？”曰：“我需持此核作种。”于是掬梨大啖。且尽，把核于手，解肩上【左钅，右搀右 　　半部】，坎地深数寸，纳之而覆以土。向市人索汤沃灌。好事者于临路店索得沸【左氵，右 　　上宀下番】，道士接浸坎处。万目攒视，见有勾萌出，渐大；俄成树，枝叶扶苏；倏而花， 　　倏而实，硕大芳馥，累累满树。道士乃即树头摘赐观者，顷刻向尽。已，乃以【左钅，右搀 　　右半部】伐树，丁丁良久，方断；带叶荷肩头，从容徐步而去。 　　初，道士作法时，乡人亦杂立众中，引领注目，竟忘其业。道士既去，始顾车中，则梨 　　已空矣。方悟适所【亻表】散，皆己物也。又细视车上一靶亡，是新凿断者。心大愤恨。急 　　迹之，转过墙隅，则断靶弃垣下，始知所伐梨木，即是物也。道士不知所在。一市粲然。异 　　史氏曰：“乡人【忄贵】【同上字】，憨状可掬，其见笑于市人，有以哉。每见乡中称素封 　　者，良朋乞米，则怫然，且计曰：‘是数日之资。’或劝济一危难，饭一茕独，则又忿然， 　　又计曰：‘此十人、五人之食也。’甚而父子兄弟，较尽锱铢。及至淫博迷心，则顷囊不 　　吝；刀锯临颈，则赎命不遑。诸如此类，正不胜道；蠢尔乡人，又何足怪。”

Perhaps the most enjoyable Oliveira film I've watched so far also proved to be the most frustrating experience (through no fault of the genial Portuguese director, whom I saw at the 2004 Venice Film Festival): unfortunately, the copy shown on late-night Italian TV was of an atrocious quality – with intermittent picture loss, rampant pixellation and considerable stretches where the dialogue was so low and muffled as to be barely audible (thankfully, the movie was presented in its original language accompanied by Italian subtitles), despite the volume of my TV being practically set at its maximum level! The irony is that this was scheduled again on the very same channel just the other week and, had I known of the poor state of my copy, I'd have tried to record it again…though, of course, I would've had no guarantee that they were able get hold of a superior print unless I went through the whole thing over again! 　　Anyway, having seen it, I'm now able to understand how Oliveira felt so completely at home making that Bunuelian tribute BELLE TOUJOURS (2006); in fact, this has much the same aura of elegant surrealism evident in the Spaniard's contemporaneous masterpiece THE DISCREET CHARM OF THE BOURGEOISIE (1972), while throughout Oliveira displays an admirably Ophulsian propensity for intricately mobile camera-work. The premise is original and quite delightful: a woman has lost a husband and remarried; she used to despise the former but, now, she realizes how much she actually loved him and, consequently, starts to neglect Spouse No. 2. Also, the first husband had an identical twin brother – so the wife feels closer to him than her current husband; the latter, humiliated by this awkward situation, commits suicide! Then, the sibling of the deceased confesses that he's actually the man she married and that it was his twin who had died (he just had the inexplicable urge to exchange identities with him!); so, the ex-bride and groom go to court to make their re-union legal…except that, by this time, it dawns on her that Husband No. 2 is the one she truly loves! 　　Amid all this, their close circle of friends try to make head or tails of the woman's whims and quirks; further complications, however, arise out of the subplot involving a man who makes passes at two of the women (one's married, the other happily cohabiting with her divorced ex!). The latter turns him down flat, while his affair with the former proves no less volatile than the leading lady's roundabout ways; the man, then, deliberately picks a fight with his lover's husband – who had earlier also exchanged harsh words with the heroine's cynical second husband. Though lacking perhaps the cheerful mockery that Bunuel managed to bring to this essentially staid environment (even if the Mendelssohn score still lends it undeniable irony), Oliveira's script is both intelligent and witty – to which his small cast of unknown actors (to me, at least) respond extremely well. These extend to even the minor roles of butler and maid: apart from indulging in their own romantic dalliances from time to time, the butler is visibly annoyed in having to attend to the mansion's gates after every vehicle that calls at the premises (in fact, apart from a brief flashback and the church finale, we're virtually stuck on the grounds of this single location). He also witnesses the second husband's fatal leap from the window as well as the wife's escape from the very same room (in which she's been locked by Spouse No. 1 after her passion for his replacement is re-ignited), while the maid has no qualms about spying on her masters' violent squabbles through a keyhole. 　　The ironic ending sees all concerned attending the wedding ceremony of a young bride and groom – with the central couple entering the church together but then taking separate seats away from one another because of lack of room; the emphasis placed on the newlyweds' promises of lifelong devotion obviously ring hollow at this point while, seemingly on a whim, Oliveira decides to end the film on an amusing shot of the church organist (sporting the somewhat clichéd unkempt appearance of the typical musicologist). It should be said here that PAST AND PRESENT is the first entry in the director's so-called "Tetralogy Of Frustrated Love" along with BENILDE OR THE VIRGIN MOTHER (1975), the five-hour TV serial DOOMED LOVE (1979) – both of which I own and intend to check out presently, as part of my ongoing retrospective honoring Oliveira's 100th birthday next month – and the as-yet unavailable FRANCISCA (1981).

女主大学生小白花：破产的家，生病的哥，破碎的她。一次打工时女主被咸猪手欺负，偶遇男主（大佬，女主哥哥的死对头，女主暗恋他八年），为了哥哥的医药费，主动认为跟男主回家。一夜以后，男主给了她50万并认为让女主跟他，女主清醒认为只有这一夜，还把钱还给了男主。男主爱而不得，两个人就开始你逃我追……

苏家双胞胎出生，青梨因天生金眸被当作孤煞命扔下山崖，幸得七玄门青冥搭救。十八年后，为渡死劫，青梨下山找身带紫气的南宫宴，与其有了一对龙凤胎。历经波折，青梨找回宝典，带着孩子和南宫宴在一起，携手相伴

沈清梨最后悔的事，大概是跟她暗恋了八年的男人一夜情后，还让那个男人付她钱。从此顾珩对她食髓知味，黑夜抵死缠绵，白天恍若陌生人。在确定顾珩联姻时，她跟他划清界限，本以为好聚好散，她却被男人带回家里。旧事恩怨，京城顾家，一夜倾覆。男人带着一身伤送沈清梨离开，却有频频出现拯救沈清梨于水火之中。她以为她是玩物，可有可无。殊不知，他早已爱她成狂，恋她如瘾。

大时母基于太初之母的故事，但主要讲述大时母女神和帕尔瓦蒂女神。 　　摩诃婆罗多中黑公主的扮演者Pooja Sharma于此剧中扮演帕尔瓦蒂，摩诃婆罗多中奎师那的扮演者Saurabh Raj Jain则于此剧中扮演帕尔瓦蒂的丈夫湿婆。 　　本剧是第一个完全讲述帕尔瓦蒂是如何变为凶猛的武士女神迦梨的电视连续剧。 　　本剧还涉及赋予妇女权力的主题，并向所有妇女发出一个信息，即她们需要找到自己的内在力量，不应该依赖男子，她们能够为自己战斗，在不需要男子的情况下解决自己的问题。