Harvest: 3,000 Years is an epic picture of peasant life in contemporary Ethiopia and a milestone in African cinema. Centred on farmers’ resistance to feudal land owners, the film blends oral narrative traditions with revolutionary film form. Gerima's first feature set in Africa is a passionate and personal work, as he has stated the film 'shows you the actual footprints of my youth, of where I grew up with my father and the rest of my family.' Produced in the midst of civil war in Ethiopia following the overthrow of Haile Selassie, the film is a post-colonial allegory of class exploitation and tribute to the collective struggle for justice of an entire nation. The masterful film tells its story as if it were a documentary observing the working life of its characters. Filmed in Amharic with local cast, the film shifts between observed scenes of from the farmers’ lives to polemical characterisation of corrupt colonialists and political speeches in order to tell its impassioned story of collective resistance. Released in the same year as Bush Mama, the two films led critics to celebrate the arrival of a major new film-maker, creator of a distinct new Black cinema sensitive both to the liberation movement in African and the political climate in America.

Harvest: 3,000 Years is an epic picture of peasant life in contemporary Ethiopia and a milestone in African cinema. Centred on farmers’ resistance to feudal land owners, the film blends oral narrative traditions with revolutionary film form. Gerima's first feature set in Africa is a passionate and personal work, as he has stated the film 'shows you the actual footprints of my youth, of where I grew up with my father and the rest of my family.' Produced in the midst of civil war in Ethiopia following the overthrow of Haile Selassie, the film is a post-colonial allegory of class exploitation and tribute to the collective struggle for justice of an entire nation. The masterful film tells its story as if it were a documentary observing the working life of its characters. Filmed in Amharic with local cast, the film shifts between observed scenes of from the farmers’ lives to polemical characterisation of corrupt colonialists and political speeches in order to tell its impassioned story of collective resistance. Released in the same year as Bush Mama, the two films led critics to celebrate the arrival of a major new film-maker, creator of a distinct new Black cinema sensitive both to the liberation movement in African and the political climate in America.

炼气修至66665层却仍不能筑基成功的主角白秋然得到了关于一个神秘的古石碑的线索，这个线索暗藏可助他筑基成功的秘法，白秋然决定下山一探究竟。

炼气修至66665层却仍不能筑基成功的主角白秋然得到了关于一个神秘的古石碑的线索，这个线索暗藏可助他筑基成功的秘法，白秋然决定下山一探究竟。

全球厨艺倒退3000年：苏鸣偶然送菜发现刘萌萌与赵天齐有染，并被赵天齐打晕，苏醒过来的苏鸣面临着全球厨艺倒退3000的世界里，开启了厨神争霸的路程。

Featuring: Mo Zhong, Want Wen Guang, the Shanghai Symphony Orchestra, Maoist dance troupes, Taoist temple music and tea-dance tango bands. 　　Description: In the early 1980's, China was just emerging from the repressive Cultural Revolution which very nearly stamped out much Chinese classical and folk music - three thousand year-old traditions. Cautiously, musicians, singers, composers and conductors were re-emerging, returning from exile and beginning to revive some of the suppressed music, all under the vigilant gaze of suspicious government officials. 　　Into this moment of regeneration came director Jeremy Marre on a quest to capture the true musical traditions of China. Constantly battling to avoid the dull 'official' musical ensembles he traveled to Shanghai, Beijing, and the Islamic, far northwestern region of Xinjian. 　　In Beijing, he was able to film Want Wen Guang, one of less than 100 Chinese who can still play the gu-qin, an ancient zither-like instrument, in a stirring, passionate performance. Later he encounters Mo Zhong, a Taoist priest, and temple drummer whose hands were broken during the Cultural Revolution in order to keep him from playing, as well as a young master of the pipa, a traditional lute, who managed to perform brilliantly despite conditions which keep him from practicing. 　　In the Islamic northwest, a very different China is encountered, a China where music and dance still flowers freely, as captured here in a wild wedding celebration. 'Cotton Mill Shanghai Blues' is a thought-provoking documentary of a dormant, ancient musical culture finally re-emerging. In addition to the performances noted above, this episode from the Beats of the Heart series also features acrobats and puppeteers, female ballad singers, Shanghai traditional opera and tea house music.

安哲罗普洛斯《希腊现代史三部曲》之一，使得他在国际影坛渐露头角。故事以1936年梅塔萨克将军在希腊开始实行专制独裁为背景，描写一个政治犯劫持来探访的议员，并以他作为人质来要挟政府。政府为了除掉这个麻烦，用尽各种手段，最后用狙击手把他击毙。 　　安哲用长镜头和360度摇移运动镜头的写实风格烘托渲染了当时令人窒息的社会氛围。讲述了一个关于政治压迫的寓言。有犯罪悬疑片成分的剧情把矛头指向迈塔克萨斯将军为总理的专制政权实行的严密控制人民思想的社会制度。

60年代，妮可因为和地下丝绒乐队合作，并在安迪·沃霍尔的提携下走红。后来妮可为了证明自己，开始了她的独立创作生涯。在影片中，妮可独立创作了近20年后，人们仍然只记得她当时和地下丝绒乐队的关系，她为此感到十分苦闷，决心要改变人们对她的印象。

取材自新文化運動先驅李叔同的年輕事跡。滿清末年國力衰弱，遭列強宰割。1905年，日本與俄羅斯兩大強權為爭中國領土，在東北戰場開打，知識份子忿忿不平。同年，熱衷文藝的上海富家公子厭倦紛擾，赴東京留學，欲尋淨土潛心精進藝術。他學畫、習樂、演新劇，並與日本女子相戀，異鄉成了溫柔鄉。然而，憤青好友力勸其加入革命黨，時局壓力亦步步迫近。亂世當前，誰能置身事外？