小小的靖安一时间成为了舆论的焦点，谜团被一个个揭开，但疑问却又接连产生。今天，当尘埃渐次落定，持续了数年的周边勘探也取得了丰硕成果，人们终于可以清晰地目睹2500年前，靖安发生的一切。

小小的靖安一时间成为了舆论的焦点，谜团被一个个揭开，但疑问却又接连产生。今天，当尘埃渐次落定，持续了数年的周边勘探也取得了丰硕成果，人们终于可以清晰地目睹2500年前，靖安发生的一切。

2015年7月，洛阳市东南郊万安山脚下的西朱村旁，村民在平整土地时发现了一处古代墓葬。

2015年7月，洛阳市东南郊万安山脚下的西朱村旁，村民在平整土地时发现了一处古代墓葬。

瑞典大使馆秘书派驻平壤，金发碧眼加上身份特殊，举手投足都被严密监视；没想到缘份来临，竟邂逅当地交通指挥员堕入爱河。极权容不下跨国小情小爱，为免彼此身陷险境，平常约会如同执行秘密行动般如履薄冰。任期即将届满，延期申请遭拒，贴身翻译拒绝伸以援手，而情人竟在此时突然失踪.…..导演以想像突破边境限制，描绘自己无法亲身踏足的朝鲜，以平实不耸动的叙事和细腻的动画笔触，勾勒一段铁幕下的禁恋。

讲述一群埃及革命者为了理想，冒着生命危险去战斗试图创建一个新社会……

Louis XIV is no newcomer to Albert Serra’s filmography, the hero of his latest opus to date, The Death of Louis XIV (2016). This Sun King features a twin, even though, in the game of differences, it turns out that there are quite a few. Instead of Jean-Pierre Léaud, a non-professionnal actor whom Serra already worked with in his first films. Very different body weight, here in expansion, there in retention; a different way of putting his face in it: there, at the service of an astonished child’s gaze, here, singularly chubby, as if extending without any solution to all of his corpulence; here, the invention of sovereignty constantly reinvented, and there, the kingdom of innocence vaguely struck by idiocy. And the props: if the tale in the first version needed Versailles or an imitation of it, the second one reduces the palace to a luminous halo. True, this time we are stuck between bare walls, white-washed with pink coating (the color of twilight?) under neon lights at the ceiling. Here, for a long time, this king has been left to his own devices, moaning on the floor, with a stomach ache as severe as it is hilarious, with rare trinkets all around. Then we see spectators entering the field to see Her Majesty’s rants, his hair (as wigs were called then) and sumptuous clothes characteristic of that era, and spectators dressed in anorak. So what, then: capturing a performance? If the art gallery really frames the « action », what we find here is calculation, cutting up, montage; in short: a film, and no misunderstanding. And a film whose paths familiar to everyone Serra’s work point to: aristocracy in all its grandeur, its stupidity and its agony, the representation of power, the forces of art. Between the sublime and the grotesque, between derision and the derisive, between Buñuel and Dali, a royal figure engages in a quest for his death mask.

Louis XIV is no newcomer to Albert Serra’s filmography, the hero of his latest opus to date, The Death of Louis XIV (2016). This Sun King features a twin, even though, in the game of differences, it turns out that there are quite a few. Instead of Jean-Pierre Léaud, a non-professionnal actor whom Serra already worked with in his first films. Very different body weight, here in expansion, there in retention; a different way of putting his face in it: there, at the service of an astonished child’s gaze, here, singularly chubby, as if extending without any solution to all of his corpulence; here, the invention of sovereignty constantly reinvented, and there, the kingdom of innocence vaguely struck by idiocy. And the props: if the tale in the first version needed Versailles or an imitation of it, the second one reduces the palace to a luminous halo. True, this time we are stuck between bare walls, white-washed with pink coating (the color of twilight?) under neon lights at the ceiling. Here, for a long time, this king has been left to his own devices, moaning on the floor, with a stomach ache as severe as it is hilarious, with rare trinkets all around. Then we see spectators entering the field to see Her Majesty’s rants, his hair (as wigs were called then) and sumptuous clothes characteristic of that era, and spectators dressed in anorak. So what, then: capturing a performance? If the art gallery really frames the « action », what we find here is calculation, cutting up, montage; in short: a film, and no misunderstanding. And a film whose paths familiar to everyone Serra’s work point to: aristocracy in all its grandeur, its stupidity and its agony, the representation of power, the forces of art. Between the sublime and the grotesque, between derision and the derisive, between Buñuel and Dali, a royal figure engages in a quest for his death mask.

《太阳王》(Le Roi Soleil)是卡梅尔·瓦里(Kamel Ouali)编排，德芙·阿缇娅(Dove Attia)和阿尔伯特·柯恩(Albert Cohen)制作的音乐喜剧。这个音乐剧描述了法王路易十四(Louis XIV)的爱情与生活(“太阳王”是路易十四的绰号)。2005年9月22号，这部戏剧在巴黎体育宫(Palais des Sports de Paris)第一次上映；最近一次上映实在两年以后，2007年7月8日，经过在法国、比利时和瑞士的两次巡演，《太阳王》在贝西体育宫(Palais Omnisports de Paris-Bercy)上演。值得一提的是，2006年和2007年，《太阳王》还两次获得NRJ音乐奖(NRJ Music Awards，NRJ全称National Radio de Jeunes，是法国最受欢迎的广播电台之一，而NRJ Music Awards素有法国“格莱美”之称，“NRJ音乐奖”是法国音乐界里的最高音乐奖项，同样是影响着音乐界的风向标)。 　　太阳王，就是法国全盛时期的国王『路易十四』。故事是以路易十四感情生活为主线。路易十四很小就即位成为国王，但是政权掌握在以残忍出名的红衣主教Mazarin与路易十四的母亲Anne D’autriche的手上。这部音乐剧由人民反对红衣主教Mazarin的LA FRONDE运动为开篇，这场运动在大炮声中结束。年轻的路易出场,在盛宴上路易十四遇见并爱上了Mazarin的侄女---Marie Mancini。一个意大利的没有贵族身份的女子。其后路易十四为了建立威信，他参加了一场战争，身染重病，生命垂危。王室已经开始将他忘却，并转向他的弟弟。但是Marie仍然为他祈祷，最后神奇的路易十四痊愈了，对于Marie他感到深深感动，因此跟她求婚。但是路易十四母亲与Mazarin大力反对，把Marie驱逐並逼迫路易十四娶了西班牙公主。第一幕在离愁中结束，年轻的国王为了自己的责任牺牲了爱情。 第二幕，当主教Mazarin与路易十四的母親去世后，路易十四掌握大权，但他在De Montespan夫人等众多贵族美女的怀抱中迷失了自我，在凡尔赛生活极尽奢华，完全忘记了他的人民为了他的迷梦所需要付出的沉重代价。经过铁面人和投毒事件，路易实现了他当年跟Marie没有实现的事情，他力排众议要迎娶Francoise D'aubigne。是他与De Montespan的私生子们的家庭教师，同时Francoise也是个私生女。最后，路易十四完成他梦想——成为受世人尊敬的太阳王。

唐朝年间，突厥军队被唐军大败,唐皇帝为防突厥再度来袭，于尉头州屯兵五千，建唐王城。此地地处丝绸之路南道之要冲，而尉头州距长安数千公里之遥，粮草军需只能靠自行解决。官犯李远为当朝中书令李检之子，被诬陷通敌发配尉头州。正逢突厥突袭唐王城，李远为保护狱友屠礼，失手误杀唐王城校尉萧临渊。为保性命，冒充萧临渊，接管了唐王城。李远整兵操练、修渠垦田，把唐王城打造得固若金汤。龟兹公主思谦前往唐王城，嫁配萧临渊，发现李远冒名顶替，暗中查找真相。突厥主帅突利可汗正是当年受到李远保护的狱友屠礼。他误以为李远身亡，欲血洗唐王城。李远冒险潜入敌营，劝说突厥退兵。高祖的援兵突袭了突厥部族。让突利可汗误以为李远欺骗自己。李远决定自我牺牲，让战事消弭，确保西域大通道的畅通。