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.

Pietramezzana，在路坎白云岩的一个偏僻的村庄，很可能会消失。它的居民，由火山多米尼加国领导不放弃，相信一个工厂的开幕可能是解决他们所有的麻烦，他们希望确保该项目是成功的…

看似宁静的小山村里，压抑气氛蔓延。看似勤劳的妇女扫地的同时偷摘果树的果实；道貌岸然的神父偶尔喝酒解忧；地牢中的犯人表面顺从暗中却计划逃狱；悭吝的老人面对收藏的财宝喜笑颜开；骠悍的暴徒觊觎老头的钱财；暴徒的妻子和栽树的男人暗通款曲…… 　　这是一个没有死角的“阳光”地带，每个人心中都藏着秘密，每个人却又窥视他人的秘密。某天，当这个畸形的平衡无意中被打破，宁静的小山村便不再宁静。 　　本片获1994年最佳动画短片奖提名。

影片是将现代社会的黑暗面投射在日本的一个村落“霞门村”上的悬疑片。横滨饰演从小就住在村中，背负母亲债务在垃圾处理场工作的青年片山优。他因为过去的某个事件受到周围的鄙视，无处可去的他在最可憎恶的人手下从事非法劳动。这时，他以某件事为契机而“觉醒”。

影片是将现代社会的黑暗面投射在日本的一个村落“霞门村”上的悬疑片。横滨饰演从小就住在村中，背负母亲债务在垃圾处理场工作的青年片山优。他因为过去的某个事件受到周围的鄙视，无处可去的他在最可憎恶的人手下从事非法劳动。这时，他以某件事为契机而“觉醒”。

电视剧《温暖的村庄》是一部展现农村正能量的现代生活剧，具有鲁剧质朴的风格，让整部剧独具韵味。

天鹅湾村的妇女们正为谁参加镇汇演闹得不可开交，高考落榜青年王一鸣在电视台《神州最强音》大赛中意外地入了围，一时成了村中的焦点。粉丝李艺蒙等主动…

天鹅湾村的妇女们正为谁参加镇汇演闹得不可开交，高考落榜青年王一鸣在电视台《神州最强音》大赛中意外地入了围，一时成了村中的焦点。粉丝李艺蒙等主动提供帮助，使一鸣在初赛中顺利晋级，而一鸣女友香玉却感到和一鸣“越来越远”。为确保一鸣取得名次，培训师让一鸣在复赛时痛说“苦难史”，不想却因为一鸣父亲王不开的出现漏了馅。一鸣直接被淘汰。回村后就病倒直至得了抑郁症。为给一鸣治病，洪支书等乡亲及香玉、艺蒙有钱出钱，有力出力，办了个“高大上”的“比赛”，虽然波折不断，但这些“温暖行动”最终还是帮一鸣找回了自己，重新回到了比赛的舞台上。而村里的妇女们也尽释前嫌，在一鸣的助演下，在镇汇演中取得了佳绩，村里也如愿得到了“精神文明村”奖牌 。

故事梗概： 　　 　　本片讲述了一个发生在二战时期感人至深的故事。德国纳粹在逮捕犹太人时，有一群孩子在各自父母和德国犹太人组织的保护下逃脱了被送往集中营的厄运，他们被迫与父母分离，远走他乡。尚邦作为法国的一个小村庄，也毫无例外地接受了一批又一批逃难来的犹太孩子，那里的村民以他们善良淳朴的胸怀接纳了这些年纪尚小的逃难者。 　　 　　让·方丹牧师就是这个村庄犹太人救助委员会的主要组织者，他因为在布道之余常常宣传反纳粹的言论而遭到盖世太保们的迫害。也正因为如此，他成为了这个村庄最受爱戴的人。又一批犹太孩子被送到了尚邦，其中包括年龄最大的女孩玛丽亚诺和年龄最小的男孩戴卫。他们很快被村民们收养了，在这些村民的家里，孩子们被很好的照顾着。不久，听到风声的盖世太保搜查了小村庄，尤其是新上任的党卫军头子韦德拉克坚信有一部分犹太孩子被牧师藏在了村子里。在村民们的保护下，孩子们终于安然无恙，但牧师却因此遭到了盖世太保的毒打，并受到了警告。 　　 　　局势日益紧张，德国人很快就要进驻小村庄，犹太孩子们的处境十分危险。让·方丹牧师等人决定迅速转移这些犹太孩子，把他们送到安全的地方。带领孩子转移的重任落在了村里小学年轻的代数老师马克的身上。在转移的途中，一个德国士兵无意中发现了这批逃难的犹太孩子，危机一触即发，无奈之中，马克杀死了那个德国士兵，孩子们被安全地转移了，但马克却陷入了党卫军的疯狂追捕中，为了不连累乡亲们，在和爱人玛丽亚诺吻别后，马克决定向德军自首。而被捕的让·方丹牧师亲眼目睹了他被杀的过程，痛彻心扉。 　　 　　精彩视点： 　　 　　《静谧的村庄》改编自二战期间犹太人被迫害得真实事件，导演运用了浪漫主义和现实主义相结合的表现手段、谱写了一曲在二战时期的壮丽悲歌，影片所有元素的运用，使本片达到很高艺术体现，极富感染力。影片一经上映就深受好评，被人们评为是可以与《辛德勒的名单》相媲美的史诗性巨作，并一举获得了第11届上海电视节最佳纪录片技术和最佳导演两项大奖，成为当时电影界最炙手可热的影片之一。 　　 　　7月31日 16：38 CCTV-6

叙利亚影史上最著名也是最具争议性的一部纪录片，由毫不妥协的叙利亚导演Omar Amiralay拍摄，也是他的代表作。影片被禁至今，奥马尔流亡海外直到30年后才得以回国拍摄他的第二部作品。本片获1976年柏林国际影展新电影论坛Otto Dibelius奖。 　　The first documentary to present an unabashed critique of the impact of the Syrian government's agricultural and land reforms, Everyday Life in a Syrian Village delivers a powerful jab at the state's conceit of redressing social and economic inequities. Interviews with farmers, health workers and a police officer contrast the peasants' regard for the state with the mindset of state representatives toward those peasants. Sa'adallah Wannus, a prominent Syrian playwright and essayist collaborated with documentary pioneer Amiralay on the project. The film remains banned in Syria. The original print has been restored and digitized very recently, and subtitled in English especially for this program. 　　Director Omar Amiralay was born in Damascus in 1944 to the son of a high-ranking officer in the Ottoman military and a Lebanese mother, Omar Amiralay headed to Paris in 1965 to pursue studies in drama and theater at the Théatre des Nations. Gradually he began to lean towards cinema and enrolled at the Institut des Hautes Etudes Cinematographiques, or IDHEC (now known as FEMIS) in 1967. He was deeply suspicious of fiction cinema, and after a year at the institute began to question whether film was really his vocation. When the 1968 student revolt erupted, Amiralay joined the hordes of protestors, and began to film. His fate was sealed; he never returned to the IDHEC and instead began to make documentary films. 　　He returned to Damascus eager to instigate a new documentary cinema. His best-known documentary film, conceived with Sa'adallah Wannus, one of Syria's most celebrated modernist playwrights and essayists, was radically different. Titled al-Hayat al-Yaomiyyah fi Qarya Suriyya (Everyday Life in a Syrian Village, 1974) it was a scathing critique of the government's failure to provide basic amenities to the poor. The film, produced by the General Organization for Cinema, was banned and remains so to this day. 　　From very early on, Amiralay's films earned a number of awards worldwide, beginning with Leipzig (1971) for Film-Essay on the Euphrates Dam. His cinema has become canon for generations of documentary filmmakers in the Arab world. The most recent edition of the Cinema du Reel festival at Paris' Centre Pompidou dedicated an hommage to his work in March 2006.