e游小镇倾力打造系列动画短片《写给家乡的三行诗》，深挖本土IP，如梁山伯与祝英台，女儿红，越窑青瓷等，让“传统”与“潮流”擦出火花，成功让文化“出圈”吸粉！《写给家乡的三行诗》共有三个篇章，分别为《女儿红》、《五彩米》、《天青》，《女儿红》篇根据真实故事改编，讲述老丁两次迁徙，为了支持家乡的发展，不得已离开熟悉的地方，借此歌颂每一位成就城市美好的无名英雄；《五彩米》篇根据真实故事改编，讲述男女主角梁国栋与祝小悠的相逢、相识、互助创业的故事，用青春和热血描绘上虞新时代乡村振兴的五彩画卷；《天青》篇根据真实故事改编，讲述主角“天青”想要重现越窑青瓷的千年秘色却屡屡失败，绝望放弃之际，与“谢安”的一场梦中对话，才坚定了“天青”重整旗鼓的信心，最终走上了越窑青瓷复兴之路，歌颂为华夏文化代代传承奉献与坚守的匠人。

A mystery in Shakespeare's sonnets is explored... 　　2005年BBC「莎翁重现」特别单元里的剧集之一，共有五篇，其中四篇是将一组经典名剧做了第N次的改编，只是将故事背景放至现代，而这部「A Waste of Shame」则是唯一原创的，灵感来源于莎士比亚一段始终扑朔迷离的生平经历，如果说莎翁的作品值得一遍遍的反复探究，那他这些并不为人所知的过往才更是吸引现代观众猎奇心理的关键，故事是从莎士比亚闻名于世的十四行诗开始的（剧名也出自此处~），编剧William Boyd创作的绝妙剧本在新鲜的观点中糅合了历史的细枝末节，给那些多如繁星的疑问和猜测一个可信的注解~

HL1027号机器人发出了最后的声音”一首诗“后，人类文明最后的印记消亡了。莎翁的诗竟成了对人类最后的表白，他笔下的”永存“终究只适用于永不消逝的自然。而人类，并没有资格。

This is a movie-poem with philosophic and lyric contemplations about the construction of Kakhovskaya hydroelectric power station, closure of the Dnieper, creation of Kakhovskoye Sea and also about human destinies involved in this great overturn of the region’s life. The action takes place in 1956-57. To the farm chairman’s call the people born in the village located near the Dniepr river that is to be flooded come to say good-buy to their birthplace. It is very hard for the senior generation to destroy their native houses and demolish the gardens as their memories of happy peaceful life and of the dreadful war are associated with them. The young people on the contrary smash down everything old with enthusiasm being sure that it brings nearer the bright future. Spring waters of the Dniepr are out and the Ukrainian village sinks to the bottom of the new Kakhovskoye Sea...

乌玛·瑟曼、崔维斯·费米尔将携手出演约翰·麦克蒂尔南([虎胆龙威])执导的科幻新片[天仓五第四行星](Tau Ceti 4，暂译)。影片剧本由麦克蒂尔南亲自执笔，故事发生在距离太阳系相当遥远、饱受战争破坏的天仓五第四行星上。三个全副武装的陌生人突然出现在第四行星，他们决意挑战那些恐吓这个地方的寡头和军事暴徒，并着手杀死他们中的每一个人。影片将是麦克蒂尔南继2003年的[基地疑云]后首部导演作品。

《海洋》聚焦于覆盖着地球表面的四分之三的“蓝色领土”，深入探索这个幽深而富饶的神秘世界、完整地呈现海洋的壮美辽阔。真实的动物世界的冒险远比动画片中的故事来的精彩，接下来银幕会展开巨大的水母群、露脊鲸、大白鲨、企鹅，毫不吝啬在镜头前展示他们旺盛的生命力，让人叹为观止，同时拷问人类影响海底生命留下的痕迹，没有人为视角，没有评论，只让镜头说话 。雅克·贝汉希望该片能让人们正视经济和资源的协调问题，以及让人们明白要保护海洋，还为时未晚。主创们在电影里完整地展示了食物链，告诉人们整个海洋生态系统是如何运作的，也预测了如果食物链断裂，将会产生什么严重的后果。片中出现的所有人和动物都和海洋息息相关，海洋中发生的事情和人类社会同样也是息息相关的，以此来给人们以警醒。雅克·贝汉筹集资金的方法很传统，他的观点是要让孩子能看到自然以及丰富的动物，就应该行动起来保护环境，他把这个观点告诉给财团、基金和工厂中的高管，得到了积极的反应。最后剧组还从美国斯隆基金会那里得到了一大笔资助，这才有机会找来专业的人士、设备，并得以下潜到水底拍摄。雅克·贝汉为了该片重新组建了创作团队，这支水下摄影队中的大部分成员都是法国海洋探险家雅克-伊夫·库斯托团队中的成员，他们非常清楚在水下50米的地方该如何拍摄电影。剧组还得到了去过10000米深海的探险家伯特兰·皮卡特及其父亲雅克·皮卡特的帮助。由于海洋变化无常，动物们也不会按照人类既定好的时间表出来觅食，有些难得一见的镜头更是转瞬即逝，为了不错过精彩镜头，摄制组一共有三队人马在世界各地拍摄 。

《海洋》聚焦于覆盖着地球表面的四分之三的“蓝色领土”，深入探索这个幽深而富饶的神秘世界、完整地呈现海洋的壮美辽阔。真实的动物世界的冒险远比动画片中的故事来的精彩，接下来银幕会展开巨大的水母群、露脊鲸、大白鲨、企鹅，毫不吝啬在镜头前展示他们旺盛的生命力，让人叹为观止，同时拷问人类影响海底生命留下的痕迹，没有人为视角，没有评论，只让镜头说话 。雅克·贝汉希望该片能让人们正视经济和资源的协调问题，以及让人们明白要保护海洋，还为时未晚。主创们在电影里完整地展示了食物链，告诉人们整个海洋生态系统是如何运作的，也预测了如果食物链断裂，将会产生什么严重的后果。片中出现的所有人和动物都和海洋息息相关，海洋中发生的事情和人类社会同样也是息息相关的，以此来给人们以警醒。雅克·贝汉筹集资金的方法很传统，他的观点是要让孩子能看到自然以及丰富的动物，就应该行动起来保护环境，他把这个观点告诉给财团、基金和工厂中的高管，得到了积极的反应。最后剧组还从美国斯隆基金会那里得到了一大笔资助，这才有机会找来专业的人士、设备，并得以下潜到水底拍摄。雅克·贝汉为了该片重新组建了创作团队，这支水下摄影队中的大部分成员都是法国海洋探险家雅克-伊夫·库斯托团队中的成员，他们非常清楚在水下50米的地方该如何拍摄电影。剧组还得到了去过10000米深海的探险家伯特兰·皮卡特及其父亲雅克·皮卡特的帮助。由于海洋变化无常，动物们也不会按照人类既定好的时间表出来觅食，有些难得一见的镜头更是转瞬即逝，为了不错过精彩镜头，摄制组一共有三队人马在世界各地拍摄 。

Seven people waiting for their death. A group of assasins - three men and two women - and Gypsy thief spend their time in prison to be tucked up. Within psychological realism, which encompassed the period’s predilection for existential mimicry, Martin Holly created an outstanding film, an adaptation of a story by the Russian author Leonid Andreev. Holly’s The Ballad of Seven Hanged Men (Balada o siedmich obesenych, 1968) reconstructed the fates of seven young anarchists sentenced to death for an attempted assassination. Shortly before their execution, the viewer sees seven different responses to the anxiety that each of the characters experiences. The characters, which are so very different, yet so convincing, change the viewer’s experience every second. 　　These distinctive television movies were shot on film with the participation of several film directors (Martin Holly, Stanislav Barabas, Peter Solan, Juraj Herz, Jozef Zachar) and directors of photography (Stanislav Szomolanyi, Igor Luther, Dodo Simoncic, Vincent Rosinec). Characterised by inventive camera work and stylish musical scores, they include Balada o siedmich obesenych (‘The Ballad of Seven Hanged Men’) by Martin Holly, Sladke hry minuleho leta (‘Sweet Amusements of Last Summer’) by Juraj Herz, Krotka (‘The Meek One’) by Stanislav Barabas, Dama (The Dame), a narrative creative interpretation by Ivan Balada based on the literary work of Svantner, Hornak’s adaptation of Vincent Sikula’s S Rozarkou (‘With Rozarka’), Peter Solan’s Slavny pes (‘The Famous Dog’) based on the short story by Jan Weiss, and Tapak’s Zivy bic (‘The Living Scourge’) based on the novel by Milo Urban and others. Several of these films won prizes at international television festivals. Despite the official closure of Television Film Works in 1971, the dramaturgical and creative potential unleashed there later became the foundation for the development of dramatic television work and its creative culminations in the 1970s and 1980s. (<Slovak film New Wave>) 　　http://www.kviff.com/en/history-years/2006/program/?s=219

Seven people waiting for their death. A group of assasins - three men and two women - and Gypsy thief spend their time in prison to be tucked up. Within psychological realism, which encompassed the period’s predilection for existential mimicry, Martin Holly created an outstanding film, an adaptation of a story by the Russian author Leonid Andreev. Holly’s The Ballad of Seven Hanged Men (Balada o siedmich obesenych, 1968) reconstructed the fates of seven young anarchists sentenced to death for an attempted assassination. Shortly before their execution, the viewer sees seven different responses to the anxiety that each of the characters experiences. The characters, which are so very different, yet so convincing, change the viewer’s experience every second. 　　These distinctive television movies were shot on film with the participation of several film directors (Martin Holly, Stanislav Barabas, Peter Solan, Juraj Herz, Jozef Zachar) and directors of photography (Stanislav Szomolanyi, Igor Luther, Dodo Simoncic, Vincent Rosinec). Characterised by inventive camera work and stylish musical scores, they include Balada o siedmich obesenych (‘The Ballad of Seven Hanged Men’) by Martin Holly, Sladke hry minuleho leta (‘Sweet Amusements of Last Summer’) by Juraj Herz, Krotka (‘The Meek One’) by Stanislav Barabas, Dama (The Dame), a narrative creative interpretation by Ivan Balada based on the literary work of Svantner, Hornak’s adaptation of Vincent Sikula’s S Rozarkou (‘With Rozarka’), Peter Solan’s Slavny pes (‘The Famous Dog’) based on the short story by Jan Weiss, and Tapak’s Zivy bic (‘The Living Scourge’) based on the novel by Milo Urban and others. Several of these films won prizes at international television festivals. Despite the official closure of Television Film Works in 1971, the dramaturgical and creative potential unleashed there later became the foundation for the development of dramatic television work and its creative culminations in the 1970s and 1980s. (<Slovak film New Wave>) 　　http://www.kviff.com/en/history-years/2006/program/?s=219

外表光鲜、看似家庭生活幸福的吉娜却有一个难言之隐——她的丈夫阳痿，无法排解寂寞的她成了女同事琪琪的猎物，而吉娜的丈夫迪诺检查了身体各项指标都没有问题，结识了英俊帅气的男心理医生，迪诺开始怀疑自己的性取向。命运之网似乎注定将四人网罗在一起...