The gloriously ribald Scot, Craig Ferguson takes to the stage in this all-new comedy special for a night of jokes and storytelling peppered with the kinds of words he's not allowed to say on network TV. Before a hootin' and hollerin' Nashville audience, Ferguson tackles every topic from celebrity sex scandals to booze to his own hilarious heavy metal past. 　　If you only know Craig Ferguson as host of The Late Late Show or as Drew Carey's sitcom boss, you're missing out. The gloriously ribald Scot takes to the stage in this all-new extended and uncensored stand-up special for a night of jokes and storytelling peppered with the kinds of words he's not allowed to say on network TV. Before a rockin' Nashville audience, Ferguson tackles every topic from celebrity sex scandals to booze to his own hilarious heavy metal past-all in an accent that makes him sound downright refined.

“I would like to propose a film that contributes to the concept of work. That compares the work of a traditional society, like in Africa, in an early industrial society such as India, and in a highly developed industrial society, in Europe or Japan. The object of comparison is to be the work in building houses. Houses to live in.” 　　This was written in Harun Farocki’s exposé from 2003 for a documentary project. “After initial research (...) I had the idea of using the brick, its manufacture and its processing as the object of comparison, explains Farocki. “We were looking for a great variety of uses for bricks – and we were looking for manufacturing processes that would possibly do away with bricks.” In India he filmed a brickworks whose threading machine was from the 1930s when Gandhi was organizing the anti-colonialist protest. The installation in northern France was operated by Moroccans who housed in barracks like POWs or forced labourers. In Mumbai apartment houses were built much like they are in Europe. No hand touched the products that came out of the highly mechanized factories in Germany. In Burkina Faso Farocki followed the communal work on a hospital ward and a school building with his camera: “I’ve never in my life been able to observed such a strange process so closely.” 　　The film does without commentary; there are only indications of the places and a few explanations offered in subtitles.

本片讲述了秦明在赴台交流讲学期间，凭借其鬼手佛心的刑侦技术，破获了当地两个最大的黑帮团伙中发生的谋杀案，成功消弭了一场即将来临的岛内黑帮动乱的故事。

女主是个性格开朗但在爱情中有些迟钝的女孩与男主本是无话不谈的挚友一起度过了无数个美好的时光一次意外的聚会人玩起了真心话大冒险命运的齿轮悄然转动女主抽到了大冒险惩罚内容竟是与男主接吻时间仿佛凝固两人都有些不知所措，可还是在众人的起哄下，完成了这个尴尬又令人心跳加速的任务。 接吻之后，一切都变得不一样了。女主发现，自己看向男主的眼神中多了一丝异样，而男主在面对女主时，也不再像从前那般坦然。他们开始刻意回避彼此可命运似乎总爱捉弄工作和生活中的种种巧合又让他们不断相遇每一次相遇两人之间都弥漫着一种微妙的气息那种超越普通朋友却又未达恋人的感觉让他们内心纠结不已

当独立厂牌4AD不断发行有趣的音乐作品时，奎氏兄弟同意为His Name Is Alive乐队制作一部音乐片。该片最初的灵感来自于一幅手握球拍站在门前的女孩照片。她随着节奏不停地踮着脚尖，一旁有只小兔子看着她。 　　一个悲切的声音唱着，“我们的婚姻还存在吗？”

《那个喇嘛》讲述了一个年轻喇嘛修行过程中的心路历程…… 　　圆峰，10岁时被父母送到五明佛学院出家，少年时在学院和佛法中度过。2007年，他刚好18岁，因个人机缘来到北京。这里的马路宽敞平坦，这里的娱乐设施一应俱全，大街上到处可见俱乐部、电玩城、洗脚城，这里的人们口若悬河，每张嘴里都涌现出不同的思想。 　　圆峰称这里为“红尘”。他跟着朋友们在这里吃喝玩乐，参观尺度不小的展览，与异性接触，感受着以前未有过的人生体验。师傅告诉他要把这个世界上的所有生物都视作白骨，包括自己。可他说看到女人依然会兴奋，跟女人们相处依然会让他觉得快乐。 　　圆峰说，最安静的时候，最快乐。滚滚红尘，翻腾着他那颗安静的心，也扰乱着尘世间的每一颗凡心。 　　导演在影片的最后说，谨以此片献给那些在生命旅程上勇敢真诚地面对自己的人，随后却不停地重复一句话，其实我们与这个年轻喇嘛并无二比。我们每个人都一样，在生命的旅程中不断地寻找，时而驻足思考，时而匆匆赶路。只是又有多少人，真正记得自己出发时的初衷？

小镇少年艾里略与死党因寻仇杀人而服刑，他被安排进一个特别矫正计划，在蛮荒深处的豪宅废墟进行劳动服务，并在此接受团体辅导。正当艾里略相信自己逐渐脱胎换骨，他的死党被转介至此，再加上胞弟的访视，让过往记忆重现，不仅召唤回他的心魔，也为这个矫正计划掀起滔天巨浪。

狩野監督の持つアート性、ミステリアスな雰囲気、観るものを楽しませたいという娯楽性が融合されたサスペンスフルな人間ドラマがここに完成。

狩野監督の持つアート性、ミステリアスな雰囲気、観るものを楽しませたいという娯楽性が融合されたサスペンスフルな人間ドラマがここに完成。

冢本晋也在《野火》之后，再度深入挖掘日本战败时期的故事。他借助男孩的足迹与视角，串联起两个带有伤痛印记的短篇故事。第一个故事里，有个女人守着空空如也的小酒屋，一个士兵常来找她，只为满足最原始的生理需求，还总说明天会带钱来。独来独往的男孩让她有了片刻对家庭的向往。第二个故事中，一名退伍士兵踏上一段路程去完成一个任务，男孩一路相伴，目睹他手臂残废、身心俱疲。三个成年人都在苦苦挣扎，不知能否走出战争的阴影，而男孩却默默地四处寻找活子，最后找到了一把枪。冢本晋也以简明直接的叙事方式，在“豚与军舰”尚未到来之际，洞察人们心底那尚存的微弱希望之火。