Rachel a 40 ans, pas d'enfant. Elle aime sa vie : ses élèves du lycée, ses amis, ses ex, ses cours de guitare. En tombant amoureuse d’Ali, elle s’attache à Leila, sa fille de 4 ans. Elle la borde, la soigne, et l’aime comme la sienne. Mais aimer les enfants des autres, c’est un risque à prendre…

Rachel a 40 ans, pas d'enfant. Elle aime sa vie : ses élèves du lycée, ses amis, ses ex, ses cours de guitare. En tombant amoureuse d’Ali, elle s’attache à Leila, sa fille de 4 ans. Elle la borde, la soigne, et l’aime comme la sienne. Mais aimer les enfants des autres, c’est un risque à prendre…

Two siblings meet a kind woman who they think would be the perfect new mother for them. But ultimately the decision is with their father, who is still in love with his last girlfriend… who did not get on well with the children. 　　The 1950s were a period of unseen creative growth in the USSR: all over the empire, even in republics that had underdeveloped film production capabilities, young talents made their visions and ambitions seen and heard. The Georgian SSR had already a rich heritage in film, so it was not astonishing that it became a vanguard of the Soviet Union’s new cinema. Its most astonishing new voice was Tengiz Abuladze whose particular sense of realism connected smoothly with similar tendencies in Italy, France or Great Britain. 　　Abuladze’s early works focused on children. Here, it’s two youngsters who feel neglected by their single father and so spend a lot of time on the streets where they meet a kind, young woman who starts to take care of them. When she meets the kids’ father they make it clear what they see in her: a potential new mother. Now, here’s the problem: the father feels still attached to a woman who couldn’t deal with the children… A stylishly shot, gentle masterpiece ripe for re-discovery!

Two siblings meet a kind woman who they think would be the perfect new mother for them. But ultimately the decision is with their father, who is still in love with his last girlfriend… who did not get on well with the children. 　　The 1950s were a period of unseen creative growth in the USSR: all over the empire, even in republics that had underdeveloped film production capabilities, young talents made their visions and ambitions seen and heard. The Georgian SSR had already a rich heritage in film, so it was not astonishing that it became a vanguard of the Soviet Union’s new cinema. Its most astonishing new voice was Tengiz Abuladze whose particular sense of realism connected smoothly with similar tendencies in Italy, France or Great Britain. 　　Abuladze’s early works focused on children. Here, it’s two youngsters who feel neglected by their single father and so spend a lot of time on the streets where they meet a kind, young woman who starts to take care of them. When she meets the kids’ father they make it clear what they see in her: a potential new mother. Now, here’s the problem: the father feels still attached to a woman who couldn’t deal with the children… A stylishly shot, gentle masterpiece ripe for re-discovery!

In The Child of Another (Muna Moto), Cameroonian tradition faces the onslaught of materialism, where dowry and bloodline become the sole remnants of family values. The story centers on Mbongo, a man with four wives yet no children. When Mbongo learns of his impoverished stepson's marital intentions, he sees an opportunity to capitalize. This leading melodrama follows the young lovers Ngando and Ndomé and unfolds with a blend of tenderness and humor. The camera intimately explores the dark interiors of rural huts, meanders along the jungle's narrow paths, and partakes in lively street processions, inviting viewers into the characters' world. However, the film boldly critiques social norms, particularly the oppression of women striving for autonomy in a rigid societal framework. The storytelling reveals the narrative in reverse, as a drumbeat at a ceremony triggers a cascade of memories. The film also resonates personally for the director, who was adopted by his mother's second husband. He reflects, It is related to my childhood, existence, and life experience. I am a muna moto myself. Dikongué-Pipa's commitment to this project spanned eight years, and during filming, he resorted to fishing and hunting to sustain the unpaid crew.

In The Child of Another (Muna Moto), Cameroonian tradition faces the onslaught of materialism, where dowry and bloodline become the sole remnants of family values. The story centers on Mbongo, a man with four wives yet no children. When Mbongo learns of his impoverished stepson's marital intentions, he sees an opportunity to capitalize. This leading melodrama follows the young lovers Ngando and Ndomé and unfolds with a blend of tenderness and humor. The camera intimately explores the dark interiors of rural huts, meanders along the jungle's narrow paths, and partakes in lively street processions, inviting viewers into the characters' world. However, the film boldly critiques social norms, particularly the oppression of women striving for autonomy in a rigid societal framework. The storytelling reveals the narrative in reverse, as a drumbeat at a ceremony triggers a cascade of memories. The film also resonates personally for the director, who was adopted by his mother's second husband. He reflects, It is related to my childhood, existence, and life experience. I am a muna moto myself. Dikongué-Pipa's commitment to this project spanned eight years, and during filming, he resorted to fishing and hunting to sustain the unpaid crew.

我叫林一轩，从事广告行业。一次偶遇，我爱上了一个比我小20岁的女孩艾宝，但是很快我们便分手了。我们都有了各自的幸福，但缘分却把我们一次次的拉近，我想我们的关系已经失控了……

皇帝骤然驾崩，苏清禾一夜从不起眼的后宫妃嫔，意外登上太后之位。她本想做条咸鱼，安安稳稳带幼帝躺赢深宫，却不得不直面朝局动荡与后宫暗流。 辅政大臣秦墨寒素来禁欲严苛，行事堪称“卷王”，见她处境艰难，总在关键时刻挺身而出：化解朝臣刁难、平定后宫风波、扫清政敌暗算，次次帮她化险为夷。 朝夕相处中，苏清禾渐渐依赖这份可靠，秦墨寒也对看似咸鱼却通透坚韧的她动了心，深宫高墙里，暧昧情愫悄然蔓延。

第一档专属男士的恋爱真人秀，邀请直率果敢的男士们入住「男之家」，彼此确认最真实的心意。

第一档专属男士的恋爱真人秀，邀请直率果敢的男士们入住「男之家」，彼此确认最真实的心意。