这部影片由是整个“拯救母亲河行动”的一部分。与纪录片《支撑》同时开拍。 　　故事片《河流时光》讲述了三个发生在黄河边的普通人的情感故事，犹如一幅优美而又忧伤的黄河风情画。影片选取黄河上游、中游、下游的三个地段来分别表现三个不同的故事，以此来展现黄河痛苦的生命历程和现代人对黄河命运的深重忧虑。

姜非池意外从2018年重生回2013年，凭借对未来的预知在金融市场迅速崛起。他精准预判华融科技股票，与同事李禾同打赌获胜，一战成名。在事业上升期，他与女同事安嘉雯、邻居张欣雨等几位女性产生了微妙的情感交集。 随着成就扩大，他面临内外部压力，但总能化险为夷。此后，他更偶然发现公司高层与境外势力勾结，并协助警方化解危机，因此深受赏识，被委以重任。姜非池凭借过人的智慧与勇气，在一次次高风险投资中为公司赢得巨大利益，也在都市奋斗中收获了成长、爱情与友情。

作过一次临时演员后，小康（李康生）罹患歪脖子的怪病，父亲（苗天）带其四处求医。 　　父亲虽已有妻、子，却是贪恋年轻男孩身体的同性恋者，家庭对他早已名存实亡，已丧失承担责任的能力（或认为并没什么责任要承担），可是对于小康，他又不自觉扮演起传统意义上的“父亲”角色，却也只能是失职的。小康是年轻的同性恋者，可是却并不清楚自己期望从同性处获得怎样一种安慰，父母的貌合神离不但令他对男女关系失掉信心，对同性关系的理解也盲从地认为只是两具肉体的短暂吸引、结合。而作为被丈夫（同时代男人）与儿子（更年轻的男人）同时冷落的母亲（陆筱琳），则只能默默忍受肉体与精神的双重饥渴与孤独。

作过一次临时演员后，小康（李康生）罹患歪脖子的怪病，父亲（苗天）带其四处求医。 　　父亲虽已有妻、子，却是贪恋年轻男孩身体的同性恋者，家庭对他早已名存实亡，已丧失承担责任的能力（或认为并没什么责任要承担），可是对于小康，他又不自觉扮演起传统意义上的“父亲”角色，却也只能是失职的。小康是年轻的同性恋者，可是却并不清楚自己期望从同性处获得怎样一种安慰，父母的貌合神离不但令他对男女关系失掉信心，对同性关系的理解也盲从地认为只是两具肉体的短暂吸引、结合。而作为被丈夫（同时代男人）与儿子（更年轻的男人）同时冷落的母亲（陆筱琳），则只能默默忍受肉体与精神的双重饥渴与孤独。

« Entre Pyrénées et Atlantique coulent des rivières puissantes qu’on appelle les gaves. Les champs de maïs les assoiffent, les barrages bloquent la circulation du saumon. L’activité humaine bouleverse le cycle de l’eau et la biodiversité de la rivière.» 　　« Pour voir la rivière aujourd’hui, il faut filmer plus large que la rivière, il faut filmer le bassin versant, le cycle de l’eau. Il faut la faire exister dans ses extensions souterraines et aériennes, les nappes et les nuages, mais aussi la chercher jusque dans le champ de maïs, la frayère à saumons, les retenues qui la bloquent. Il faut la filmer suspendue entre mémoire d’un passé fastueux et peur d’un avenir desséché. Filmer les gaves, c’est filmer notre monde dans son intrication de beauté et de désastre. » (Dominique Marchais)

A young woman and man meet for lunch in restaurant nestled in the mountainous regions of Lebanon. Suddenly war seems to break out all around them. They are forced to retreat into nature.

« Entre Pyrénées et Atlantique coulent des rivières puissantes qu’on appelle les gaves. Les champs de maïs les assoiffent, les barrages bloquent la circulation du saumon. L’activité humaine bouleverse le cycle de l’eau et la biodiversité de la rivière.» 　　« Pour voir la rivière aujourd’hui, il faut filmer plus large que la rivière, il faut filmer le bassin versant, le cycle de l’eau. Il faut la faire exister dans ses extensions souterraines et aériennes, les nappes et les nuages, mais aussi la chercher jusque dans le champ de maïs, la frayère à saumons, les retenues qui la bloquent. Il faut la filmer suspendue entre mémoire d’un passé fastueux et peur d’un avenir desséché. Filmer les gaves, c’est filmer notre monde dans son intrication de beauté et de désastre. » (Dominique Marchais)

Film takes place at the end of XIX century in a tiny colony in a Yakut taiga. 　　A young healthy girl (a thief hunter) who occasionaly visits the village falls in love with one of the patients, a young one, and bears his child. But suddenly his wife appears, and in this strange love triangle the tragedy becomes ripe...

The River, of which the central theme is desire, is the most erotic film of the silent cinema. Wreathed with the laurels of worldwide success and with an Oscar for 7th Heaven, American filmmaker of Italo-Swiss origin, Frank Borzage (1894-1962) conceived this work with complete artistic freedom. The immense natural sets were built in the open-air on a lot at Fox Film in Westwood, Los Angeles. 　　The initial situation is of an Eden-like simplicity: the initiation into love of a male virgin, a man of the woods coming into contact with a mysterious female urbanite about whom we learn but little, other than that she "has lived life to the full" and that she is always monitored by the crow belonging to her lover who was imprisoned for murder. There follow the hazards of seduction and refusal, ruses and inhibitions, endless desires confessed, with many hitches, right up to metamorphosis into love. The whole narrative unfolds on the banks of a river which reveals the nudity of the bodies (sex), the mortal perils of the vortex (passion), the purification and promise of a harmonious fulfillment (the sea.) 　　When it first came out the film was pursued by misfortune: not quite knowing how to promote it, Fox disguised the work with a musical prologue and a spoken word ending, filmed behind the back of the cineaste (the 'talkie' version was unseen outside of the United States). The strong sensuality of the images shocked puritan America: The River was forbidden a screening in many States and a tacit consensus limited its distribution. Many newspapers passed over the film in silence, boycotted the publicity, and even the « New York Times » only granted it a small, embarrassed paragraph. 　　In Europe the reception was warmer and the French movie-goers, amongst them the young Marcel Carné, praised the film to the skies (7 weeks exclusive in Paris). The surrealist milieus around André Breton saw in this Woman With Raven, as which the film was distributed in France, more true audaciousness and insight than in the entire French avant-garde. For the duration of the season, the disturbing Mary Duncan (1895-1993) provoked flights of fantasy under the same heading as Louise Brooks. Then the film disappeared, became a legend. It is rumoured to have been lost, just like the other mythic title from Fox, Murnau's 4 Devils filmed at the same time.

一档商业观察节目。在中国的经济与社会领域中，梳理出五大全民高度关注的、正在发生巨大变化的时代大命题，由顶级商业观察者李翔，带着个人的好奇与公众的疑问，进入这些命题一看究竟，透过客观理性的商业视角，观察当下生活之变。