小児マヒの長男が学校でいじめられ登校拒否に。そんな時、次男も同じ病にかかる。悩んだ大学教授の山本と妻は、小児マヒ児のため「しいのみ学園」を創立し…。勝手な大人もいる中で、体が不自由な子どもたちが助け合い励まし合う姿には、清水宏の弱き者への愛情が溢れだす。

小児マヒの長男が学校でいじめられ登校拒否に。そんな時、次男も同じ病にかかる。悩んだ大学教授の山本と妻は、小児マヒ児のため「しいのみ学園」を創立し…。勝手な大人もいる中で、体が不自由な子どもたちが助け合い励まし合う姿には、清水宏の弱き者への愛情が溢れだす。

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黛安——國王最喜愛的妓女，被囚禁在「鹿園」。她只有一個願望，但這個願望並不是與國王同床共枕，而是迫切希望能逃離她的金鳥籠。某一個夜晚，在國王放下警惕的時候，她決定逃跑。

黛安——國王最喜愛的妓女，被囚禁在「鹿園」。她只有一個願望，但這個願望並不是與國王同床共枕，而是迫切希望能逃離她的金鳥籠。某一個夜晚，在國王放下警惕的時候，她決定逃跑。

Sparkling, masterful début by Kovalov is found-footage compilation of e.g. news items, propaganda material and instruction films. For his directing début, Oleg Kovalov chose a very extravagant experiment. As a basis he took a propaganda film from the fifties, The Case of Corporal Kochetkov, dissected this as it were and gave the naked structure a new substance and new accents by re-cutting the shots and adding documentary material from the fifties, such as newsreel footage of Khrushchev's visit to America and pictures of the visit by Yves Montand and Simone Signoret to Moscow. The film about corporal Kochetkov called on the Soviet citizens to be on their guard and showed how sly the enemy was: for instance it could pose as an innocent girl. Kovalov creams off the emotional froth from this melodrama, deconstructs its codes and subjects it to a thoughtful analysis. For instance he reveals paranoia and spy-phobia, complexes in the 'collective Soviet unconscious' that is still active even in relatively enlightened periods.