From a topographic perspective, Ulrike Ottinger’s cinema is mostly located between Berlin and remote places in the Far East or the Far North. In Paris Calligrammes, she explores the landscape of her memories of the city that she called home for 20 years and that helped shape her beginnings as a painter and filmmaker. Ottinger moved to Paris in her twenties and immersed herself in the cultural scene of the 1950s populated by heroes of the avant-garde and a new generation of artists and intellectuals. Meandering between bookshops, concert halls, theatres, cinemas, museums and cafés, Ottinger presents her personal pantheon, and at the same time maps a decisive era both in art – as Dada and Surrealism gave way to Situationism and Pop Art – and in politics where, in-between post-war hopes, the Algerian conflict and the student movements of 1968, there was much to discuss. Nonetheless, the film maintains its intimate stance throughout, assembling a rich and emotionally charged repertoire of film clips, news reports, photos and songs with the same meticulous affection that people used to stick newspaper clippings and photos in a diary so they could write around them.

From a topographic perspective, Ulrike Ottinger’s cinema is mostly located between Berlin and remote places in the Far East or the Far North. In Paris Calligrammes, she explores the landscape of her memories of the city that she called home for 20 years and that helped shape her beginnings as a painter and filmmaker. Ottinger moved to Paris in her twenties and immersed herself in the cultural scene of the 1950s populated by heroes of the avant-garde and a new generation of artists and intellectuals. Meandering between bookshops, concert halls, theatres, cinemas, museums and cafés, Ottinger presents her personal pantheon, and at the same time maps a decisive era both in art – as Dada and Surrealism gave way to Situationism and Pop Art – and in politics where, in-between post-war hopes, the Algerian conflict and the student movements of 1968, there was much to discuss. Nonetheless, the film maintains its intimate stance throughout, assembling a rich and emotionally charged repertoire of film clips, news reports, photos and songs with the same meticulous affection that people used to stick newspaper clippings and photos in a diary so they could write around them.

JOhnson&johnson的后代，Jamie Johnson，面对美国社会贫富分化的现实日益不满，尤其是长辈或富人圈子都有意逃避讨论财富问题，更让他感觉富人圈子的虚伪。 　　感谢他的身份，富家子弟，因此这个纪录片可以很多人“偷窥”富人圈子的生活场景。他甚至藏着麦克风，跟拍父亲的工作圈子，据说还有他自己与80多岁的经济学家Milton Friedman为政府与市场角色的观点分歧而拍桌对骂。

JOhnson&johnson的后代，Jamie Johnson，面对美国社会贫富分化的现实日益不满，尤其是长辈或富人圈子都有意逃避讨论财富问题，更让他感觉富人圈子的虚伪。 　　感谢他的身份，富家子弟，因此这个纪录片可以很多人“偷窥”富人圈子的生活场景。他甚至藏着麦克风，跟拍父亲的工作圈子，据说还有他自己与80多岁的经济学家Milton Friedman为政府与市场角色的观点分歧而拍桌对骂。

“镜”是代表着镜头，是卢爷爷作为抗美援朝战地记者时的武器。卢爷爷为中国复兴事业做出了突出贡献也为眉山市彭山区的慈善事业做出了巨大贡献，我们就想以此片作为一份礼物送给这样一位伟大的老人。

Winfield College students who are trying to put together the annual varsity show come into conflict with their faculty advisor, a stodgy old professor whose ideas are hopelessly out of date, and who won't even let the new "swing" music be played in the show. They decide to contact a former student who is now a big Broadway star and have him direct their show. What they don't know is that this "star's" last three shows were big flops.

「詠晴」（Good Day）描述一段在極具台灣特色的氣候型態「颱風」之中發生的故事，張誌騰在作品說明中談到創作理念，颱風不僅帶來破壞，也為台灣注入充沛雨量，每個在這片土地上的人都擁有各自對颱風的獨特記憶，就如同颱風在這部作品中所代表的人生經歷「離婚」，在不同視角、不同環境下，都可能有不同解讀。

「詠晴」（Good Day）描述一段在極具台灣特色的氣候型態「颱風」之中發生的故事，張誌騰在作品說明中談到創作理念，颱風不僅帶來破壞，也為台灣注入充沛雨量，每個在這片土地上的人都擁有各自對颱風的獨特記憶，就如同颱風在這部作品中所代表的人生經歷「離婚」，在不同視角、不同環境下，都可能有不同解讀。

埼玉县，新越谷高校。这年春天入学的武田咏深，在那里与儿时好友的山崎珠姬重逢。中学时代，由于没有捕手能接住咏深的球，因此她那激烈变化的“魔球”无法投出，于是中途放弃了棒球。但在强豪队伍中磨练了实力的珠姬，成功地接下了咏深的变化球。实现了幼时的约定，再次相遇的两人，与同班的川口姐妹及其他同伴们一起让停止活动中的棒球部复活。目标是全国！新生·新越谷高校棒球部的挑战从这里开始——

北方小镇四季流转，东方家庭情深意温；玉娥两度深情目送，母子共赴成长旅程。