中组部女处长林峰玉，在关键时刻，纠正了副省长林强盛被“重病提拔”的严重错误，获得嘉奖，并被省委书记郁浩民看中，“空降”到该省东山市任市委组织部长。此时，东山市玉龙县委老书记癌症晚期，急需选拔新的县委书记，市委将这项任务交给了林峰玉。常务县长高思民是候选人之一，临时主持全面工作，这是个有争议的人选。有人说他是能人，有人说他有贪官。高思民就在考察选拔他的节骨眼上，引火烧身，下令打掉了一个黑社会团伙，抓捕了上市公司玉龙集团的的总经理吕佳龙。这下捅了马峰窝，遭到了以卢晓明为首的利益集团的反扑。在一次次的较量中，林峰玉拔开迷雾，逐一推翻了强加在高思民身上的以权谋私、打击报复、权色交易等诸多不实之辞，还了高思民清正、廉洁的共产党员形象。

中组部女处长林峰玉，在关键时刻，纠正了副省长林强盛被“重病提拔”的严重错误，获得嘉奖，并被省委书记郁浩民看中，“空降”到该省东山市任市委组织部…

明朝，家境贫寒的解大绅自幼聪慧好学，能诗善对。无论是河滩上与胖和尚和老羊倌的嬉戏逗乐，还是有感而发的一字联,亦或是威震全街的开业对,都显示出小小文曲星的机灵可爱。大绅替生病的父亲分忧，挑担去卖豆腐，却因在县衙后门前叫卖而被抓到县衙受审。心胸狭窄的曹乡绅摆下对联擂台要打掉解大绅的威风，名流雅士们轮番上阵，志在必得。对联擂台，谁是赢家？

“尔雅”是中国第一部词典的名字，它是词解，亦是知识的阐释与入门。借用源自公元前三世纪的“尔雅”一名，梁文道携看理想，计划将软性文化生活与硬性知识相结合，打造一档适于现代人，启发生活美学，并培养文化素养的短视频节目——《尔雅》。恰如“尔雅”，这档节目不仅提供符号化的品质生活名词，更将具体呈现其美与艺术的完整语境。 　　《学懂绅装的语言》是《尔雅》第一季节目之一，由“最懂绅装的男人”Alan See主讲。

明朝，家境贫寒的解大绅自幼聪慧好学，能诗善对。无论是河滩上与胖和尚和老羊倌的嬉戏逗乐，还是有感而发的一字联,亦或是威震全街的开业对,都显示出小小文曲星的机灵可爱。大绅替生病的父亲分忧，挑担去卖豆腐，却因在县衙后门前叫卖而被抓到县衙受审。心胸狭窄的曹乡绅摆下对联擂台要打掉解大绅的威风，名流雅士们轮番上阵，志在必得。对联擂台，谁是赢家？

“尔雅”是中国第一部词典的名字，它是词解，亦是知识的阐释与入门。借用源自公元前三世纪的“尔雅”一名，梁文道携看理想，计划将软性文化生活与硬性知识相结合，打造一档适于现代人，启发生活美学，并培养文化素养的短视频节目——《尔雅》。恰如“尔雅”，这档节目不仅提供符号化的品质生活名词，更将具体呈现其美与艺术的完整语境。 《学懂绅装的语言》是《尔雅》第一季节目之一，由“最懂绅装的男人”Alan See主讲。

大舅理查德·阿米蒂奇主演，Urban从5岁开始就逃离关爱中心，已经11岁的他成为了英国关爱中心最常出走的孩子。他的母亲Greta罹患精神疾病，因此，在无法与母亲一起时，他会露宿街头，或是与其他出走的孩子一起窝在秘密集聚地——“棚民基地”。他从来没有“父亲”的概念，所以在Greta首次交往到一名得体的男友Chop时，他也第一次满心地期待。因为Chop这名充满爱心的前社工有点理想主义，对Chop而言，这也是实现自身价值的一个机会。他接纳了这个破碎的家庭，尽力帮助Greta，尽心地教导Urban和他的兄长Frank。然而，Greta走向自我毁灭的倾向过于严重，和睦的幸福稍纵即逝……

In 1981 film director Nagisa Oshima - the 'New Wave' Japanese director best known in this country for films such as Cruel Story of Youth (1960), In the Realm of the Senses (1976), and Merry Christmas, Mr. Lawrence (1983) - traveled to the Yamagata countryside to visit the documentary filmmaking collective led by Shinsuke Ogawa (1935-1992), who was then in the midst of filming A Japanese Village - Furuyashikimura, a feature-length documentary chronicling the seasonal cycle of rice growing. 　　Ogawa, who produced Summer in Narita (1968), Peasants of the Second Fortress (1971), and Red Persimmons (2004), gives Oshima a brief tour of their rural location, including the rice fields they are cultivating as well as filming, and introductions to local villagers. They then settle down for a wide-ranging conversation about Ogawa Productions' approach to documentary filmmaking - that of self-styled "film nomads" who live and work for extended periods of time in various regions of the country-focusing in particular on their current production, which involves an intimate interaction over a period of several years with local farmers, weather conditions, the environment, and aspects of village life. 　　A VISIT TO OGAWA PRODUCTIONS thus offers a rare insight into the social and cinematic philosophy of one of Japan's best-known documentary film collectives. As the film reveals, Ogawa Productions' in-depth portraits of Japanese society - whether of protest movements or traditional agricultural life - grew out of an unusual commitment to integrate themselves with the communities they filmed, to the extent that their filmmaking literally became an alternative lifestyle.

In 1981 film director Nagisa Oshima - the 'New Wave' Japanese director best known in this country for films such as Cruel Story of Youth (1960), In the Realm of the Senses (1976), and Merry Christmas, Mr. Lawrence (1983) - traveled to the Yamagata countryside to visit the documentary filmmaking collective led by Shinsuke Ogawa (1935-1992), who was then in the midst of filming A Japanese Village - Furuyashikimura, a feature-length documentary chronicling the seasonal cycle of rice growing. 　　Ogawa, who produced Summer in Narita (1968), Peasants of the Second Fortress (1971), and Red Persimmons (2004), gives Oshima a brief tour of their rural location, including the rice fields they are cultivating as well as filming, and introductions to local villagers. They then settle down for a wide-ranging conversation about Ogawa Productions' approach to documentary filmmaking - that of self-styled "film nomads" who live and work for extended periods of time in various regions of the country-focusing in particular on their current production, which involves an intimate interaction over a period of several years with local farmers, weather conditions, the environment, and aspects of village life. 　　A VISIT TO OGAWA PRODUCTIONS thus offers a rare insight into the social and cinematic philosophy of one of Japan's best-known documentary film collectives. As the film reveals, Ogawa Productions' in-depth portraits of Japanese society - whether of protest movements or traditional agricultural life - grew out of an unusual commitment to integrate themselves with the communities they filmed, to the extent that their filmmaking literally became an alternative lifestyle.