《燃烧的青春》是韩国SBS的一档综艺节目。其中出演者金国振和姜修智在现实中发展成一对真正的情侣。

財務省に勤める広岡栄城には三人の息子があった。長男の省一は冬山の単独行で遭難した。次男の進吾は東大コースを歩み商事会社に勤めていた。三男の栄介は東大をめざして猛勉強の最中であった。栄城は妻たかとの結婚を押し切ったため出世がおくれたと思いこんでいる男である。大学の同期の高橋は局次長の娘を妻にして、今では財務省の次官候補にまであげられていた。栄城は自分が毎日味わう屈辱感を、息子達にはさせまいと、何時しか出世主義を息子達に押しつけていた。省一には、婚約者として高橋の娘美沙が決っていたが、省一が遭難したため、栄城は次男の進吾に彼女を当てようと図った。人形のように扱われるのを嫌った美沙は、進吾と会って結婚の話を断った。若い進吾も勿論この話に賛成だった。淡白な進吾の態度に美沙は心惹かれるのを感じた。折も折、進吾が所属する山岳クラブでは、劒岳にある「黒いジャンダルム」へ挑む計画があった。進吾は、益々重苦しく覆いかぶさる父母の重圧から逃れるためもあって、この困難な計画を実行した。その結果--右足切断というみじめな敗北に終った。栄介は難関の東大に入学した。或る日、栄介が省一の哲学ノートを探している時、省一の日記を発見し、兄の死の真相を知った。封建的な家庭と官僚生活によって歪められてゆく自分を、もう一度人間らしく復活させたいため兄達が山に登ることを知った。栄介は入学祝に父から貰った金で登山道具を買った。両親は必死になって反対した。栄介の登山を心から喜び、激励するのは進吾達のクラブがある運動具店の店員節子だった。節子と栄介は恋人だ。栄介は自分が山で勝利を収めることが、両親を目覚めさせ、絶望の進吾を救うことだと確信した。進吾は弟に、彼愛用のザイルを送った。栄介は泣いてとめる母を振り切って山へ出発するのだった。

新中国成立之初，为了打破西方对我国实行经济尤其是战略物资——橡胶的封锁，某野战部队转业成为特别林业师，攻克橡胶种植的难关。原尖刀团团长孟青田、琼崖纵队政委柯伟豪临危受命，带领个性十足的植物学家王朴深入粤西、海南，出色完成任务。孟青田出身行伍，决断力超强，但又心思缜密，柯伟豪敌后斗争的经验使他办事周全。他们一次次瓦解了国民党特务的破坏，与苏联专家展开有关科学与实践的论证。剧中的女主角梅修浪漫、知性，充满正义感和责任感；莎迷娜温柔漂亮内心却不失刚强；布袋——年轻单纯的农村姑娘，阳光健康。三个男人三个女人感情与命运交织在一起，最终都找到了各自的感情归宿。

新中国成立之初，为了打破西方对我国实行经济尤其是战略物资——橡胶的封锁，某野战部队转业成为特别林业师，攻克橡胶种植的难关。原尖刀团团长孟青田、琼崖纵队政委柯伟豪临危受命，带领个性十足的植物学家王朴深入粤西、海南，出色完成任务。孟青田出身行伍，决断力超强，但又心思缜密，柯伟豪敌后斗争的经验使他办事周全。他们一次次瓦解了国民党特务的破坏，与苏联专家展开有关科学与实践的论证。剧中的女主角梅修浪漫、知性，充满正义感和责任感；莎迷娜温柔漂亮内心却不失刚强；布袋——年轻单纯的农村姑娘，阳光健康。三个男人三个女人感情与命运交织在一起，最终都找到了各自的感情归宿。

燃烧的爱

在一个美丽祥和的海岛上，有一群健康可爱的蔬菜，大家在萝卜村长的带领下，过着幸福而又快乐生活。可是神秘邪恶的基因博士在入侵了世上大部分地区后，将下一个目标瞄准了蔬菜家园，他派遣了一群变异动物去对付蔬菜们。阳光正义的小番番，善良可爱的洋葱美眉，无厘头爱恶作剧的萝卜特，脾气火爆的火辣辣，超级大吃货小胖豆……蔬菜们将使用各自神奇的技能，反抗动物们的入侵和破坏，保卫自己的家园。

Deep into Hell Week, a favored pledgee is torn between honoring his code of silence or standing up against the intensifying violence of underground hazing.

The story is about an unnamed detective, hired by a beautiful, alcoholic woman, to find clues related to the disappearance of her husband. In the process, the detective is given a map (a ruined one), supposedly to help him, but which turns out in the end to be more like a metaphor of the guidelines one should have in life. The impossibility of finding relevant clues to help him solve the mystery leads the main character to an existential crisis, which builds slowly from inside and finally puts him in the position of identifying himself with the man he was supposed to find. 　　The Man Without a Map (燃えつきた地図 Moetsukita chizu) is a 1968 Japanese film directed by Hiroshi Teshigahara and starring Shintaro Katsu. The screenplay was adapted by Kōbō Abe from his novel The Ruined Map. This was the fourth and final film collaboration between Teshigahara and Abe.

For his third film in France, L'Enfant du Carnaval (1921), Mozhukhin directed himself. This is a delightful work, hinting at the astonishing visual vocabulary Mozhukhin would employ in his next directorial effort, Le brasier ardent (1923). Full of visual witticisms that include amusing match cuts and a terrific use of scenography, it can be argued that the choice of subject matter (wealthy bachelor finds a child on his doorstep and hires the child's real mother as nanny) has more than an old-fashioned air about it, but he manages to keep it fresh and sparkling until the tragic conclusion. There are some stylistic similarities between L'Enfant du Carnaval and an Italian film from 1917 which screened at last year's Festival, Luigi Serventi's Le Mogli e le arance (Wives and Oranges), written and supervised by Lucio D'Ambra, although this may be pure coincidence. 　　La Maison du mystère was followed by Mozhukhin's second and final solo directorial effort, the extraordinary Le brasier ardent (1923). Though Renoir cites this as the film which convinced him to become a director, few people understood Mozhukhin's tour de force blend of surrealism, Freud and dada, and Le brasier ardent was a commercial flop. It is directed with breathtaking boldness and a mastery of cinematic styles ranging in influence from Gance and Feuillade to the avant-garde. Le brasier ardent opens with a nightmare sequence that jumps out at the audience, beginning in hell and working itself up to a cathedral, all with Mozhukhin in different parts, from a demonic heretic at the stake to a bishop. The visionary Alexander Lochakoff designed, with Joseph-Louis Mundwiller (who later shot part of Gance's Napoléon [1927]) as cameraman. Mozhukhin's incandescent personality, shining out of those riveting eyes, acts as a match to his bravura directing, which includes astounding edits and the use of negative images. The audience is left dazzled by the audacity of his style, and mournful that a great career as director was cut short by an unappreciative public. 　　Finally, Casanova (Volkoff, 1927). I can think of no film where Venice is so gloriously shot, where the Carnival festivities of the late 18th century are so perfectly recreated, straight out of the paintings of Pietro Longhi. Full of comedy, and with Mozhukhin bounding through his scenes in the style of Douglas Fairbanks, 　　Ivan Mozhukhin in Casanova 　　Ivan Mozhukhin in Casanova 　　this is a gorgeous work, and though it lacks the technical bravura of, say, Le brasier ardent, it is a pleasure from beginning to end. The extraordinary restorations by Renée Lichtig (co-winner this year of the Jean Mitry Award) of both this and Michel Strogoff include their original hand-coloured sequences. The night scenes during Carnival, with fireworks exploding over the torch-lit gondolas, are scenes of wonder.

"Pigan brinner!" ("Maid on fire!") is a "modern silent short", shot in black/white 35 mm with the hand cranked camera Pathé, from 1914, (actually the same camera used by D.o.P. Julius Jaenzon for "Phantom Carriage") telling the story of a Maid that slaves in a Swedish family high-etc kitchen in the year of 2008, serving some twin brats, a hungry Nosferatu-teenager and a father "dying" in a cold. All tensed up, she suddenly starts to burn and SELFCOMBUST!... Maid on fire! is a torch in the Swedish debate about maids. Written by Suzanne Antonsson