两个老太太写信拌嘴，绵里藏针笑里藏刀为点小事要写好几封信争执不休，但是信末还不忘记 kiss kiss 　　Based on the books and Radio 4 series written by Carole Hayman and Lou Wakefield, Ladies of Letters transfers to the small screen in this new 10-part adaptation. 　　Irene (Lipman) and Vera (Reid) meet at Vera’s daughter’s wedding and begin a correspondence that, beneath a veneer of civility, hides a constant battle of one-upmanship as they regale each other with stories of blissful holidays, delicious recipes and grateful grandchildren. 　　In reality, both are lonely, taken for granted by their families and their correspondence is a lifeline for them: for all the unspoken animosity, they need each other.

信贵情，情贵真。在毛泽东风格各异、内涵丰富的书信中，充溢着博大而真挚的思想情感。《毛泽东书信故事》通过书信的这一独特视角，反映毛泽东的革命实践经历、思想发展过程以及中国革命波澜壮阔的历程；反映他的人际交往、政治智慧、领导艺术与崇高风范。深入挖掘背后故事，彰显出“书信”中所蕴含的思想体量和文化力量。 　　中共中央文献研究室编纂的《毛泽东书信选》中收录了毛泽东书信1500多封，还有200多封书信性质和形式的电报。《毛泽东书信故事》从中精选出100多封具有代表性的书信，确立10个相对集中的分集主题，每集讲述一组书信背后的故事。

毛泽东书信是毛泽东留给后世的一笔独特的思想文化遗产，对于了解毛泽东伟大壮阔的一生和博大雄浑的内心世界有着不可替代的重要价值。这些书信风格各异、内涵丰富，有爱国热情，有青春激情，有革命豪情，有浪漫诗情，有儿女亲情，有淳厚乡情，充溢着博大而真挚的思想情感。

信贵情，情贵真。在毛泽东风格各异、内涵丰富的书信中，充溢着博大而真挚的思想情感。《毛泽东书信故事》通过书信的这一独特视角，反映毛泽东的革命实践经历、思想发展过程以及中国革命波澜壮阔的历程；反映他的人际交往、政治智慧、领导艺术与崇高风范。深入挖掘背后故事，彰显出“书信”中所蕴含的思想体量和文化力量。 　　中共中央文献研究室编纂的《毛泽东书信选》中收录了毛泽东书信1500多封，还有200多封书信性质和形式的电报。《毛泽东书信故事》从中精选出100多封具有代表性的书信，确立10个相对集中的分集主题，每集讲述一组书信背后的故事。

兩位年輕的女導演以影像書信的對話形式討論電影、家庭、母職等。運用深刻的個人反思將日常生活體現於電影中。這些影像片段不僅促使兩人審視自己，也彼此分享自己的一部分。透過鏡頭，同時記錄了時代的變化。

兩位年輕的女導演以影像書信的對話形式討論電影、家庭、母職等。運用深刻的個人反思將日常生活體現於電影中。這些影像片段不僅促使兩人審視自己，也彼此分享自己的一部分。透過鏡頭，同時記錄了時代的變化。

This correspondence, or exchange of letters and video diaries between acclaimed filmmakers Jonas Mekas and José Luis Guerin is extremely potent, there's sorcery at play in the mixture of the two. Together they're light and dark. Mekas knows life's joys, and is always a participant in what he films, Guerín is a detached observer, cold, present only as a black mote, reflected in the eye of one of his subjects. Guerín shoots in black and white and strives for formalism, Mekas loves hazard, loves his chaotic hand-held colour camera. Jonas Mekas felt that his images were inferior to those of Guerín, but a picture of his son Sebastian devouring a pickle, followed by Jonas on the deli sausage and wine, and then a cheeky close up of Goethe's Faust; which of them Faust and which Mephistopheles? That one shot set me thinking about the nature of art and the privilege of artists, and could be interpreted in any one of several fruitful ways. 　　Guerín's Camera is brutal, his viewpoint black, on death and distance. He sends Jonas a morbid video, regarding a Slovenian film writer, which is almost a provocation. One beautiful moment, filmed through a gap in his hotel room's curtains shows a young couple frolicking in the sea, for which brief segment he allows music. It's deliberately voyeuristic though, Guerín is distant he identifies with migrant workers he films in Venice. 　　The films, in an aesthetic sense presents clarity versus confusion, reality versus a dreamer's obfuscation. There's an extent to which what we see is a real correspondence, an extent to which they are talking past one another. Guerín intones that dialogue between filmmakers is an impossibility, over images of fish heads on ice in a market. It's one of two visual quotes I suspected are from Pere Potabella (from Pont de Varsovia). 　　The difference in viewpoint I suspect ultimately is that Mekas sees beauty in the fact that life goes on, wonder in impermanence, Guerín is blanched by it.

This correspondence, or exchange of letters and video diaries between acclaimed filmmakers Jonas Mekas and José Luis Guerin is extremely potent, there's sorcery at play in the mixture of the two. Together they're light and dark. Mekas knows life's joys, and is always a participant in what he films, Guerín is a detached observer, cold, present only as a black mote, reflected in the eye of one of his subjects. Guerín shoots in black and white and strives for formalism, Mekas loves hazard, loves his chaotic hand-held colour camera. Jonas Mekas felt that his images were inferior to those of Guerín, but a picture of his son Sebastian devouring a pickle, followed by Jonas on the deli sausage and wine, and then a cheeky close up of Goethe's Faust; which of them Faust and which Mephistopheles? That one shot set me thinking about the nature of art and the privilege of artists, and could be interpreted in any one of several fruitful ways. 　　Guerín's Camera is brutal, his viewpoint black, on death and distance. He sends Jonas a morbid video, regarding a Slovenian film writer, which is almost a provocation. One beautiful moment, filmed through a gap in his hotel room's curtains shows a young couple frolicking in the sea, for which brief segment he allows music. It's deliberately voyeuristic though, Guerín is distant he identifies with migrant workers he films in Venice. 　　The films, in an aesthetic sense presents clarity versus confusion, reality versus a dreamer's obfuscation. There's an extent to which what we see is a real correspondence, an extent to which they are talking past one another. Guerín intones that dialogue between filmmakers is an impossibility, over images of fish heads on ice in a market. It's one of two visual quotes I suspected are from Pere Potabella (from Pont de Varsovia). 　　The difference in viewpoint I suspect ultimately is that Mekas sees beauty in the fact that life goes on, wonder in impermanence, Guerín is blanched by it.