A rare, hysterical gem from early Soviet cinema. CHEMI BEBIA (MY GRANDMOTHER) is a Georgian avant-garde slapstick silent comedy that was banned in the Soviet Union for almost 50 years. And it's pretty easy to see why. Whereas later Georgian filmmakers became rather adept at slipping political criticism under the noses of the Soviet censors, this film ends with a completely unambiguous rallying call for the death of bureaucrats. Lots of the creative techniques one associates with early Soviet cinema are on display here, but they are filtered through a sieve of early American slapstick and used mostly (and most successfully) for comedy. Imagine Harold Lloyd starring in Terry Gilliam's BRAZIL and you'll start to get an idea of what MY GRANDMOTHER is like. It's hilarious, and historically it's interesting to watch in that it's just as politically obvious as any other early Soviet film, but in an entirely different way. 　　Imaginative, innovative, amazing! This is a wonderful film that works on so many levels. As a farce, it's up there with Charlie Chaplin or Monsieur Hulot. It's really funny. The score is absolutely brilliant. The acting is top-notch. As a satire on corruption and bureaucracy, it hits the nail on the head. The elements of surrealism work tremendously well in acting, sets and scenes: just extreme enough to make the point well without losing touch with the underlying reality. Through all this, key themes are maintained. The director also plays effortlessly with gender, age and hierarchical roles, switching and undermining them relentlessly. Innovative film techniques, too, are used exceptionally well: puppetry, collage, distortion plus many more. One could doubtless see this film a dozen times and still find something new.

A rare, hysterical gem from early Soviet cinema. CHEMI BEBIA (MY GRANDMOTHER) is a Georgian avant-garde slapstick silent comedy that was banned in the Soviet Union for almost 50 years. And it's pretty easy to see why. Whereas later Georgian filmmakers became rather adept at slipping political criticism under the noses of the Soviet censors, this film ends with a completely unambiguous rallying call for the death of bureaucrats. Lots of the creative techniques one associates with early Soviet cinema are on display here, but they are filtered through a sieve of early American slapstick and used mostly (and most successfully) for comedy. Imagine Harold Lloyd starring in Terry Gilliam's BRAZIL and you'll start to get an idea of what MY GRANDMOTHER is like. It's hilarious, and historically it's interesting to watch in that it's just as politically obvious as any other early Soviet film, but in an entirely different way. 　　Imaginative, innovative, amazing! This is a wonderful film that works on so many levels. As a farce, it's up there with Charlie Chaplin or Monsieur Hulot. It's really funny. The score is absolutely brilliant. The acting is top-notch. As a satire on corruption and bureaucracy, it hits the nail on the head. The elements of surrealism work tremendously well in acting, sets and scenes: just extreme enough to make the point well without losing touch with the underlying reality. Through all this, key themes are maintained. The director also plays effortlessly with gender, age and hierarchical roles, switching and undermining them relentlessly. Innovative film techniques, too, are used exceptionally well: puppetry, collage, distortion plus many more. One could doubtless see this film a dozen times and still find something new.

小曼达被强奸后被丢弃在贫民窟的垃圾堆里，强奸犯是当地政客儿子，警察选择包庇罪犯，曼达的父母关心的是自己尊严，但外婆不会接受这种不公。

小曼达被强奸后被丢弃在贫民窟的垃圾堆里，强奸犯是当地政客儿子，警察选择包庇罪犯，曼达的父母关心的是自己尊严，但外婆不会接受这种不公。

光线传媒在推进中的动画项目数量众多，《去你的岛》《罗刹海市》《大鱼海棠 2》《相思》《朔风》《外婆，我的耳朵里有条鱼》在制作中

林秀兰在女儿赵颜和外孙女姜潮汐遭渣男姜超、小三陈琳纵火害死後，意外魂穿到外孙女姜潮汐身上，回到赵颜中四千万彩票大奖的当天。为阻止女儿重蹈覆辙，林秀兰以姜潮汐的身份，不断提醒赵颜提防姜超和其闺蜜陈琳。她先是精准预言陈琳的到访细节，说服赵颜隐瞒中奖事实，又屡次拆穿陈琳的小把戏，试图让赵颜认清两人的真面目，而姜超与陈琳仍在暗中谋划夺取钱财。

Toñi, an eccentric grandmother, gets by between failed businesses and a carefree attitude. Her daughter Daniela, a stressed executive and single mom, wants to keep her away.

我是一心和一意的亲外婆！钱多又闲着无聊，开家花店玩玩。

我是一心和一意的亲外婆！钱多又闲着无聊，开家花店玩玩。

Elisban arrives in the city of Puno, too late to meet his friend Hermogenes, with whom he was going to work. Homeless and without money, he survives from unstable small jobs, in a city that sharpens his loneliness at every step. The inertia of continuing to walk may lead him to a better fate