上世纪50年代，女主角林波儿随养母到香港艰难营生。但她坚持传承南音，在闽南侨胞的帮助下一举成名，被东南亚影迷誉为“一代旦后”的传奇故事。

Saratan is a film made in 2005 by the Kyrgyz director Ernest Abdyjaparov, with financial assistance from Germany, and distributed in the West by a German company. The film was made more than ten years after the demise of the Soviet Union - when the various socialist republics suddenly found themselves with unexpected independence – which brought with it an economic malaise following the withdrawal of Moscow’s subsidies, and an ideological vacuum which together left Kyrgyzstan and its neighbouring Central Asian republics facing economic hardships and social upheavals. It centers on the lives of people in one small Kyrgyz village, a snapshot of life with happy and sad elements side by side. It can also be seen, however, as providing a comment on the country’s history, society and culture in the period following independence, “where the average citizen is struggling with a sheer insurmountable number of difficulties.” Fourteen years into independence, there are several things that just don’t seem to work in this small Kyrgyz village: the farms are not working; the people are poor without prospects for a better future although a few “rich” people have benefited – to the disadvantage of the average villager, employment is virtually non-existant and the little money that is earned is, all too often, spent on vodka. More than 40 characters populate the film and provide a kaleidoscope of personal stories and relationships. Amongst them are: drunkards, thieves, philanderers, hypocrites, adulterers, layabouts, a malicious jester, a shaman, a cheating wife, a mullah who oversleeps and has to rush to conduct morning prayers in which no-one seems to take an interest, a traffic policeman directing non-existent rush-hour traffic in the village square, the local mayor struggling to cope with an apathetic community in which seems to take him seriously, a Jehovah’s Witness missionary who finds an avid in the Communist die-hard as they share a prison cell, a cattle thief and his family who utter an Islamic prayer fused with nomadic gestures when slaughtering a stolen lamb The “heroes” of the film, however, are the “Kyrgyz people” – who, despite the trials and tribulations of everyday life in a depressed economy, nevertheless manage to overcome them and find ways to cope with the apparent hopelessness of their situation. Two phrases used by reviewers in describing it are: ”a happy-sad snapshot” and “tragicomic tales of politics, tradition, modernity, pride and honour”. The humour is underlined by a elements of satire, cynicism, self-mockery, a sense of absurdity and occasional moments of “slapstick”. It was made on a small budget – just USD120,000 – and has been shown in a number of film festivals in Berlin, California, Cardiff, London and Marakesh – where it was the “Golden Star” prize, and in Russia where it has also won prizes. Abdyjaparov says: “As far as context is concerned, this film is about difficulties of Kyrgyzstan for the last 10 years after it became independent from the Soviet Union. I showed it [the history of Kyrgyzstan] through a small Kyrgyz village, its history, people, social, economic and even philosophical issues and developments. I tried to show the whole country’s fate by showing one village,” .

一朵花在做梦；一个房间浮现；一个太阳像时钟一样滴滴答答地走着；一棵树对花说：“你活在一个电子游戏里，等待梦结束吧…”

暂无剧情简介

盖伊·马丁受邀到塔尔·贝拉的电影学院时，和学生们一起完成的一个短片，改编自著名先锋电影导演László Moholy-Nagy写的一个剧本构思。（László Moholy-Nagy的原剧本构思介绍：https://blogs.princeton.edu/graphic arts/2010/12/l_moholy-nagy.html）

在中国边陲名城塔尔巴哈台城，在美丽的吐尔加辽草原。巴旦花岁岁年年地开放着。哈萨克族小姑娘玛依拉就生活在这里。她随着家人放牧、换牧场、进城、作客……她见到了各个民族的朋友，也感受到了各族朋友的友爱。巴旦花岁岁年年地开放，玛依拉也渐渐长大了。

中央新闻纪录电影制片厂1966年摄制

周慕青为爱与穷书生赵文昌私奔，三年尽心持家怀子。赵文昌听红颜挑唆不请稳婆致其小产。其父周德兴携重金来探，反遭二人羞辱。赵文昌知其身份后追悔，污蔑陷害反自食恶果。

LINE TV與文化內容策進院共同合作《Be Love,Go Love -華語原創影集開發計畫》，自徵件以來詢問度爆表，截至去年12月25日收件截止日，共收到161件劇本提案，歷經二階段評選，今公布6組入選的BL、GL劇本提案，劇本類型涵括奇幻、刑偵、異世界穿越、娛樂圈及小說改編，提案者有職業編劇、新銳編劇及漫畫家，今年4月將進入為期 20 週的劇本前期開發，之後由文策院與LINE TV協助後續發展、製作機會或尋求國際資金進入製作。