这个故事讲述了四颗蒲公英种子（或称瘦果）的惊险旅程。它们在核弹摧毁原野的千钧一发之际逃脱，随着爆炸气流冲入太空。在太空中漂流时与一只海星相遇后，这些种子降落在一个陌生星球，开始寻找扎根之地。四位非典型移民者就此展开了一场漫长的漂泊之旅——从冰封雪原到栖息着危险昆虫的植物世界，穿越马铃薯岛屿随波漂浮的奇异海洋。最终，当它们穿越三颗月亮照耀下的后末日沙漠时，幸得一只孤儿蛞蝓的友谊相助，瘦果们终于在这片废土上找到了新家园。

这个故事讲述了四颗蒲公英种子（也就是瘦果）的惊险之旅。在核弹即将摧毁原野的危急时刻，它们成功逃脱，借着爆炸产生的气流冲进了太空。在太空漂流过程中，它们与一只海星相遇。之后，这些种子降落到一个陌生星球，开始寻觅能够扎根的地方。这四位与众不同的“移民者”开启了一场漫长的漂泊——从冰封的雪原，到栖息着危险昆虫的植物世界，还穿越了有着随波漂浮的马铃薯岛屿的奇异海洋。最终，当它们穿越被三颗月亮照亮的后末日沙漠时，多亏与一只孤儿蛞蝓建立了友谊，瘦果们才在这片废土上找到了新的家园。

The story tells the misadventures of four dandelion seeds (or achenes) who escape in extremis from the destruction of their field by a nuclear explosion. After floating through space and crossing paths with a starfish, they land on a new planet and search for a place to take root. These four atypical migrants embark on an odyssey that will take them from a frozen land to a plan...

这个故事讲述了四颗蒲公英种子（或称瘦果）的惊险旅程。它们在核弹摧毁原野的千钧一发之际逃脱，随着爆炸气流冲入太空。在太空中漂流时与一只海星相遇后，这些种子降落在一个陌生星球，开始寻找扎根之地。四位非典型移民者就此展开了一场漫长的漂泊之旅——从冰封雪原到栖息着危险昆虫的植物世界，穿越马铃薯岛屿随波漂浮的奇异海洋。最终，当它们穿越三颗月亮照耀下的后末日沙漠时，幸得一只孤儿蛞蝓的友谊相助，瘦果们终于在这片废土上找到了新家园。

讲述了人类饮食习惯的改变过程，食物大批量生产所带来的一系列后果，以及肥胖与瘦弱的根源是什么，其中，一定有你想象不到的结论。

讲述了人类饮食习惯的改变过程，食物大批量生产所带来的一系列后果，以及肥胖与瘦弱的根源是什么，其中，一定有你想象不到的结论。

A masterwork of Sri Lankan cinema, this moving saga of family and class conflict was made by Lester James Peries, his country’s foremost filmmaker and a director much admired by India’s Satyajit Ray. 　　Gamperaliya is regarded as a cornerstone of Sri Lankan cinema, launching upon its release in 1964 ‘a revolution, not only in the way films were made, but also in the content,’ according to producer Anton Wickramasinghe. 　　Peries sought an alternative to the Bollywood-influenced melodramas that dominated Sri Lanka’s commercial cinema, writing stories that looked at the staple issues of melodrama in a more nuanced way. 　　The film, adapted from a novel by Martin Wickramasinghe, focuses on Piyal, a teacher and member of the new rising middle class, who falls in love with the daughter of his village’s leading aristocratic clan; the girl’s parents insist upon a marriage to a stuffed shirt of her own class, one that shifting social forces are already rendering obsolete. 　　Gamperaliya is filmed in an elegant and uncoercive narrative style that has been compared to Satyajit Ray’s Apu Trilogy; its aesthetic choices also have a moral dimension: at every level, this is a movie about the importance of setting aside illusion and exaggeration and seeing things as they are.

A masterwork of Sri Lankan cinema, this moving saga of family and class conflict was made by Lester James Peries, his country’s foremost filmmaker and a director much admired by India’s Satyajit Ray. 　　Gamperaliya is regarded as a cornerstone of Sri Lankan cinema, launching upon its release in 1964 ‘a revolution, not only in the way films were made, but also in the content,’ according to producer Anton Wickramasinghe. 　　Peries sought an alternative to the Bollywood-influenced melodramas that dominated Sri Lanka’s commercial cinema, writing stories that looked at the staple issues of melodrama in a more nuanced way. 　　The film, adapted from a novel by Martin Wickramasinghe, focuses on Piyal, a teacher and member of the new rising middle class, who falls in love with the daughter of his village’s leading aristocratic clan; the girl’s parents insist upon a marriage to a stuffed shirt of her own class, one that shifting social forces are already rendering obsolete. 　　Gamperaliya is filmed in an elegant and uncoercive narrative style that has been compared to Satyajit Ray’s Apu Trilogy; its aesthetic choices also have a moral dimension: at every level, this is a movie about the importance of setting aside illusion and exaggeration and seeing things as they are.