O Nosso Homem (Our Man) is a short variation in the line of the trilogy Pedro Costa has devoted to the habitants of the Fontainhas quarter, which has been destroyed in the meantime. It can be considered as a sort of appendix to the third part, Juventude en Marcha (Colossal Youth), in which the hero, Ventura, reappears as one of the four characters of this dialogue of hopelessness. They go their own way, from one setting to another, from the darkest to the brightest, carried by this lavishness of frames and timbres of light that once made Jacques Rancière (writing about Juventude en Marcha) say that “the faith in the art which attests to the greatness of the poor – the greatness of each and every man – shines here more than ever. But it does not assimilate it anymore to an affirmation of a greeting

人人街上有家不起眼没招牌的租书店，陆续聚集了四位鲁蛇：最不会讨债的黑道小弟 – 张亮、生意惨淡的租书店老板 – 周广侠、宁愿负债也要拜金的 – 康乐佑、渴望被爱的富二代 – 丁邵恩。四位鲁蛇怀着自己隐藏性的人际障碍问题，在租书店挂上疑难杂事招牌，开始替人解决种种人际上的苦差事，在荒谬惊奇又哭笑的情境里，陆续解决了别人的问题，但也同时面对了自己在友情、亲情、爱情上的层层关卡，改变了每个人内心胆怯不敢面对的那一面…

在人人街上，有一家毫不起眼且没有招牌的租书店，这里陆续汇聚了四位“鲁蛇”：黑道小弟张亮，是最不会讨债的那类人；租书店老板周广侠，生意十分惨淡；康乐佑宁愿负债也要追求拜金生活；富二代丁邵恩则渴望得到爱。这四位各怀隐藏性人际障碍问题的“鲁蛇”，在租书店挂上“疑难杂事”的招牌，开始为他人解决各种人际方面的棘手之事。在充满荒谬惊奇又令人哭笑不得的情境中，他们陆续解决了别人的问题，同时也不得不面对自己在友情、亲情、爱情上的重重关卡，逐渐改变了内心那个胆怯、不敢面对现实的自己。

男主跟父亲生活在一起，趁着父亲不在家的时候，男主总爱带自己的女朋友回家慰藉自己的不爽，而直到有一天。父亲带回来一个女人，声称这个女人以后就是自己的妻子了，然而善良的父亲却没想到，这个女人竟然就是男主的前女友，更重要的是，这个女人对男主还有另类的情愫....

莲花村有高田两大家族，表面上一团和气，暗地里却一直较着劲儿。田野悔了和高二妮的婚事，两家矛盾日益激化。田野放弃了铁饭碗辞职回村创业引起了轩然大波。几经周折，田野的生态农场终于建成，一直持观望态度的村民纷纷要求加入，整个村子呈现出蒸蒸日上的面貌。

莲花村有高田两大家族，表面上一团和气，暗地里却一直较着劲儿。田野悔了和高二妮的婚事，两家矛盾日益激化。田野放弃了铁饭碗辞职回村创业引起了轩然大波。几经周折，田野的生态农场终于建成，一直持观望态度的村民纷纷要求加入，整个村子呈现出蒸蒸日上的面貌。

导演亲自扮演一位电影导演，他辛苦工作收入菲薄，而且还无法满足自己的妻子。影片中夫妻俩在打架、交谈、修补关系，再谈话、接着打架。

青年法官沈谢秩携手律师秦睿，与舒静、胡艾溪、陈向辉等法律同侪深入基层工作，为人民群众解决亲子矛盾、婚姻困境等纷繁的社会、家庭问题；在一桩桩案件中，秉持法律无情人有情的原则，践行初心使命、坚守法治信仰的故事。

青年法官沈谢秩携手律师秦睿，与舒静、胡艾溪、陈向辉等法律同侪深入基层工作，为人民群众解决亲子矛盾、婚姻困境等纷繁的社会、家庭问题；在一桩桩案件中，秉持法律无情人有情的原则，践行初心使命、坚守法治信仰的故事。

Askold Kurov's bold and compelling documentary chronicles the erosion of press freedom in Russia in the run up to, and during, the invasion of Ukraine. 　　With unparalleled access, Of Caravan and the Dogs follows a group of independent journalists and activists whose criticism of the war in Ukraine leads to their censorship and exile. ‘There´s such a thing as self-respect’, muses one journalist in a staff meeting called to discuss the ethics of publishing under new, arcane censorship laws. Structured around a countdown to war, the film intercuts tense meetings between newspaper staff with footage of Russian police ransacking media offices, televised broadcasts by Putin, large-scale protests in Russia and on-the-ground footage from an embattled Ukraine. The film is both a powerful exploration of the personal dilemmas of people living under strict repression and a unique perspective on resistance movements within a notoriously hermetic state.