父亲出殡这天，丈夫谢景为赶赴机场迎接青梅许梦，一再耽搁下葬吉时。纪言心如死灰，独自打幡扶灵送别父亲。葬礼结束后她果断提出离婚，细数长久婚姻里的冷漠忽视，回绝一切求和，干脆了结这段情缘。故事兼具乡土现实的厚重氛围，隐忍之下尽显女性清醒果敢的风骨，往后放下过往，安稳奔赴新的生活。

在父亲出殡的悲痛时刻，纪言没有等到丈夫谢景来扶灵，却得知他去了机场接小师妹。吉时已过，女婿缺席，纪言独自摘掉孝布、系上麻绳、摔了瓦盆，完成了葬礼。葬礼结束后，她平静地向谢景提出离婚。面对丈夫“你一个家庭主妇，离了我能干啥”的嘲讽，纪言没有争辩，因为她知道，丈夫公司赖以生存的三项核心专利，真正的所有人正是她自己。一场关于婚姻、尊严与价值的较量，就此拉开序幕。

叁叁是一位居住在上海的苗族女孩，热爱写诗、绘画等各种艺术形式。她长期患有抑郁症，在疫情的末期，她萌生了给自己举办葬礼的念头。然而，就在她开始整理自己的遗物时，奶奶却突然离世。在回到贵州凯里的老家参加奶奶葬礼，并筹备自己葬礼的过程中，叁叁陷入了抑郁症复发，原生家庭创伤重现 ，以及现实与梦想两难全的困境。 San, a young Miao woman residing in Shanghai, immerses herself deeply in poetry, painting, and various forms of art. She has wrestled with depression for an extended period. As the post-pandemic era approached, San briefly entertained a provocative idea: the concept of orchestrating her own funeral. However, just as she started sorting through her belongings, her grandmother passed away unexpectedly. Upon returning to her hometown in Kaili, Guizhou, to attend her grandmother's funeral and make arrangements for her own, San found herself in a dilemma of relapsed depression, resurfacing family traumas, and the conflict between reality and dreams. 入围西宁first电影节纪录片实验室 入围CNEX社会影响力工作坊

苏瑾萱爱了祁景琛十五年，却被他亲手送进了监狱，痛苦之中，她看见了他和那个女人恩爱缠绵，完全忘记小时候他对她许下的承诺。而这一切源于一场误会，他把十五年前的女孩认成了那个女人.

顾婉茵曾隐去千金身份步入婚姻，七年里默默扶持丈夫的事业。当她看清这段婚姻并非真心相待，便在家人的帮助下厘清过往，体面结束婚姻，收回了应有的权益。之后她回归家族企业，凭借自身能力执掌核心业务，彻底告别错误的人生选择，专注事业成长，开启了属于自己的崭新人生。

相依为命的两父子，一直在乡间生活。父亲原是一名正直的好老师，但因一次意外，导致一位学童在学校郊游时溺亡，终于他引咎辞职，并只身远赴东京寻找工作，留下儿子一人在乡间就读寄宿学校。正所谓虎父无犬子，儿子长大后，首先到先台读大学，及后更在秋田谋得教席。他终日冀盼能和父亲共聚天伦，可惜却仍未如愿。儿子在入伍前，要到东京验身，终于能和父亲住在一起，可是父亲却在这时突然病危。子欲养而亲不在，总叫人唏嘘不已。

唐颖曾为丈夫当全职太太，怀孕五月却遭其与第三者欺辱赶出。离婚后，她嫁给了极具魅力的江辞云，江辞云助她成长，二人先婚后爱，联手报复前夫与第三者，终获事业爱情双丰收。

雨宫家老父亲（奥村公延 饰）因病去世，正在外地拍广告的女儿千鹤子（宫本信子 饰）和女婿井上佗助（山崎努 饰）带着两个儿子连忙赶回老家奔丧。虽然有葬礼负责人海老原（江户家猫八 饰）的帮助，但佗助夫妇仍需临时抱佛脚，学习葬礼礼仪。三天的葬礼，品味生死百态，万般不舍与依恋，俱化作火葬场上空的一缕轻烟…… 本片荣获1984年日本学院奖最优秀作品、最佳导演、最佳男主角、最佳剧本和最佳女配角多项大奖，及1985年蓝丝带最佳导演和最佳男主角奖。

在南印度的一个偏远村庄，101岁的Century Gowda去世了，他的三代子孙们有着不同的反应。儿子Gadappa是一位老头子，总是抽着便宜的烟，喝着白兰地，每天无所事事地穿梭在田野间；同时孙子Thamanna是个见钱眼开的小贩，筹划着非法卖掉Century Gowda的五英亩地；曾孙Abhi是个阳光自信的青年，不屈不挠地追求着一个牧羊女孩。三条故事线索交织着，聚合在Century Gowda死后第十一天的葬礼上。

The heroine of this drama about injustice during the collectivization of the Czech countryside is a proud widow, who arranges a magnifi cent funeral for her recently deceased husband. The funeral ceremony for this honourable farmer who had resisted the state-sanctioned liquidation of farmers and landholders is transformed into a manifestation of resistance against the Communist overlords. This story of the struggle against injustice was based on a novel by the dissident writer Eva KantÛrková, whose official publication was also prohibited during “normalization”. Sirov˘’s best film has the outline of a Classical tragedy and is framed by suggestive shots of the countryside. The film’s long-delayed premiere in 1990 was broadcast on television and attended by President Václav Havel. During “normalization” the director Zdenek Sirov˘ (1932-1995) primarily made his living doing film dubbing. He did make a number of quite ordinary adventure films and after the fall of Communism he shot an adaptation of the popular satire The Black Barons about conditions in the Communist military in the 1950s. During the final years of his life, cut short by disease, he was a respected teacher at Prague’s Film and TV School of the Academy of Performing Arts.