The summer has its own songs. Whispering softly, they make their way to us from the depths of the jungle. The high treetops sway and rustle. Once a tiger prowled the village. The father doesn’t tell his son about this, as he holds him tight. In calm takes that concede the jungle its beauty, stature and deep serenity, the images move between the immediate and the totality, between the all-too-human and the awareness of the gods who will protect the village. The arrangement of the images is akin to a hanging of paintings. The stories that the villagers tell the director follow a similar order in their sequencing. One leads to the next by association, thus opening up a village cosmos in which the old coexists with the new. Suddenly they appear, the forest creatures – only to vanish the next moment. A strange smoke exudes from the ground, like a dream from a bygone era. ‘People only sing, when they are in love with someone,’ the woman whispers – the day is done. For a brief moment the film is bathed once again in colour.

The summer has its own songs. Whispering softly, they make their way to us from the depths of the jungle. The high treetops sway and rustle. Once a tiger prowled the village. The father doesn’t tell his son about this, as he holds him tight. In calm takes that concede the jungle its beauty, stature and deep serenity, the images move between the immediate and the totality, between the all-too-human and the awareness of the gods who will protect the village. The arrangement of the images is akin to a hanging of paintings. The stories that the villagers tell the director follow a similar order in their sequencing. One leads to the next by association, thus opening up a village cosmos in which the old coexists with the new. Suddenly they appear, the forest creatures – only to vanish the next moment. A strange smoke exudes from the ground, like a dream from a bygone era. ‘People only sing, when they are in love with someone,’ the woman whispers – the day is done. For a brief moment the film is bathed once again in colour.

《般若》塑造了一个舞厅舞女的性幻想，通过强烈的视觉去刻画反差。罗伊爱上一个男人，通过偷窥这个男人和别的女人亲密而陷入幻想的挣扎。

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。

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。

A smug young monk embarks upon an intriguing journey only to discover that the wisdom he seeks is much closer than he imagines, and much stranger than he could possibly envisage. Set against the stunning backdrop of the Himalayas, Lodro battles the elements, braves the seductions of beautiful women, chases enchanted children and encounters a magical mule that can read, in his attempt to reach the mythical mountain of Wutaishan, in search of Manjushri. Finding Manjushri was produced on a shoestring budget in a Tibetan refugee settlement in northern India. It is a delightful and uplifting story, delivered with charm and humor, that explores Tibetan Buddhism's unconventional concept of wisdom and carries a universal message that resonates across cultures.

日本一座普普通通的高中，对生活倍感无聊的16岁男生高畑瞬（福士苍汰 饰）在课堂上打发着枯燥冗长的青春时光。然而就在毫无征兆的情况下，黑板前老师的脑…

唯一全景反映《马可波罗东游记》的影视作品！由北京电影制片厂与意大利广播电视公司合拍，中国演员英若诚对忽必烈这个角色的苍凉演绎，最终在意大利获得年度最佳男演员奖。该剧亦赢得艾美奖最佳电视剧奖。 　　影片简介： 　　最初马可·波罗随同两个牧师被派往忽必烈朝廷传教，以期对方能皈依基督。然而半路上，马可就被随行的牧师们遗弃了，因为后者怀疑世上根本就没有中国这个国家的存在。在经历千辛万苦之后，马可终于凭借自己的力量到达了中国，并被视作外交使节加以礼遇。在随后的20年中，马可深入探寻中国文化，走过了许多地方。归国后，他写出了那本著名的《马可·波罗游记》，彻底改变了西方世界对于中国的看法。