王蓝莓是一名小学四年级的女生，她爱吃、男孩性格、懒惰、学习不好、什么事情都拖到最后一刻才做、学习不认真、成绩平平、经常惹妈妈生气、爱幻想、做事没恒心……在王蓝莓身上我们或多或少都看到了自己童年的影子。如果王蓝莓算一个可爱的人的话，那么她的周围可谓“可爱”多多，喜欢王蓝莓很久的大脑袋同学、美丽又漂亮的苗小树、经常和蓝莓一起疯的妈妈等等，这群性格各异、精力充沛的小孩、大人们，每天都在演绎着生活的趣事，伴随着王蓝莓一天天成长。

茶神茶婆婆、太湖渔神渔婆婆和太湖蚕花神蚕婆婆给故事中的少年阿太讲故事的方式，为观众们带来了36个生动有趣的江南民间故事。该片将中国传统文化与江南三大民俗要素（茶渔蚕）自然地融入到故事情节中，让大朋友和小朋友们在活泼有趣的故事中认识到人与人之间的多样性并学会包容和尊重他人，同时也建立起他们与传统文化之间、与地缘文化之间的链接。爱家乡，知其源，懂其理。讲好太湖民间故事，讲好江南民间故事，小而美地传递正能量，就是讲好中国故事。

茶神茶婆婆、太湖渔神渔婆婆和太湖蚕花神蚕婆婆给故事中的少年阿太讲故事的方式，为观众们带来了36个生动有趣的江南民间故事。该片将中国传统文化与江南三大民俗要素（茶渔蚕）自然地融入到故事情节中，让大朋友和小朋友们在活泼有趣的故事中认识到人与人之间的多样性并学会包容和尊重他人，同时也建立起他们与传统文化之间、与地缘文化之间的链接。爱家乡，知其源，懂其理。讲好太湖民间故事，讲好江南民间故事，小而美地传递正能量，就是讲好中国故事。

1997, 75 min., colour, BETACAM SP, Stereo 　　The Japan Foundation, North Foundation, Pandora Co., Ltd (Japan) 　　Special thanks to Hiroko Kodjima 　　scenario: A. Sokurov 　　camera: A. Fedorov 　　sound: S. Moshkov 　　editor: L. Semenova 　　“My journey to your sorrowful country cannot finish… even here in Russia. 　　I can't part with feelings which have captured me… as if my soul had been in search of Beauty and Kindness. If not — what for have I deserved this gift, this meeting… 　　I have arrived in the twilight. The noise of the wind and my tiredness didn't let me fall asleep. 　　I was lying on the floor, there was a small lamp at my head, the bedding had been thrown over the mat. 　　I don't know why, but I began to think about the war, and the scenes of unknown life appeared before me from the past… or, perhaps, from the future; Somebody’s children… somebody's mothers… 　　The summer was warm… 　　Then the morning came, windy, cold and sunny… I examined the house cautiously. It was empty… 　　Then, I remember, I turned back, having heard a creak. 　　It seemed she had not yet noticed me… I decided to come nearer. 　　I can remember well enough, how everything became interesting: walls, utensils, wind, light, sounds — all her life. 　　We agreed that she would let me stay near her all the time All the hours and minutes that I could spend in her old house. I sat near her with her permission. And it was really necessary: I could contem­plate her to my heart's content.” 　　Alexander Sokurov (from the author's text to the film) 　　A myth about lost harmony, which is always with us, though we often cannot feel it, is further developed in this film by Alexander Sokurov. The material used here is concrete and, at first sight, quite fit for TV. The whole work is unhurried and detailed report from an old solitary house, lost in the mountains, in the village of Aska, prefecture Nara, Japan, where an old woman, whose name is Umeno Matshueshi, lives alone. But filmmaker's creative task is quite opposed to the TV information stream. It is not only because this subject, this person couldn't be of any interest for any TV crew in any country (and least of all, perhaps, in modern Japan). 　　Sokurov's camera doesn't watch this character, doesn’t ask any questions, doesn’t surprise her, but extracts uninterrupted poetical image out of the trivial details of this physical reality, out of this extinct life and daily routine. The image is epic and lyrical at the same time. Refined simplicity of Japanese landscape, interior, a series of portraits are not a representation of “couleur local,” but only the sign of ideal technique of the ideal description, allowing to enter this life. The woman, who remains silent throughout the whole film, cooking and eating, kindling the fire and sewing, giving alms and combing her hair before us, recites in the final poem as a prayer: artless and sorrowful tanku about loneliness, about the constancy of losses and gainings. Sokurov shoots this unexpected stroke in his personage's portrait as a lyrical coda of his work.

1997, 75 min., colour, BETACAM SP, Stereo 　　The Japan Foundation, North Foundation, Pandora Co., Ltd (Japan) 　　Special thanks to Hiroko Kodjima 　　scenario: A. Sokurov 　　camera: A. Fedorov 　　sound: S. Moshkov 　　editor: L. Semenova 　　“My journey to your sorrowful country cannot finish… even here in Russia. 　　I can't part with feelings which have captured me… as if my soul had been in search of Beauty and Kindness. If not — what for have I deserved this gift, this meeting… 　　I have arrived in the twilight. The noise of the wind and my tiredness didn't let me fall asleep. 　　I was lying on the floor, there was a small lamp at my head, the bedding had been thrown over the mat. 　　I don't know why, but I began to think about the war, and the scenes of unknown life appeared before me from the past… or, perhaps, from the future; Somebody’s children… somebody's mothers… 　　The summer was warm… 　　Then the morning came, windy, cold and sunny… I examined the house cautiously. It was empty… 　　Then, I remember, I turned back, having heard a creak. 　　It seemed she had not yet noticed me… I decided to come nearer. 　　I can remember well enough, how everything became interesting: walls, utensils, wind, light, sounds — all her life. 　　We agreed that she would let me stay near her all the time All the hours and minutes that I could spend in her old house. I sat near her with her permission. And it was really necessary: I could contem­plate her to my heart's content.” 　　Alexander Sokurov (from the author's text to the film) 　　A myth about lost harmony, which is always with us, though we often cannot feel it, is further developed in this film by Alexander Sokurov. The material used here is concrete and, at first sight, quite fit for TV. The whole work is unhurried and detailed report from an old solitary house, lost in the mountains, in the village of Aska, prefecture Nara, Japan, where an old woman, whose name is Umeno Matshueshi, lives alone. But filmmaker's creative task is quite opposed to the TV information stream. It is not only because this subject, this person couldn't be of any interest for any TV crew in any country (and least of all, perhaps, in modern Japan). 　　Sokurov's camera doesn't watch this character, doesn’t ask any questions, doesn’t surprise her, but extracts uninterrupted poetical image out of the trivial details of this physical reality, out of this extinct life and daily routine. The image is epic and lyrical at the same time. Refined simplicity of Japanese landscape, interior, a series of portraits are not a representation of “couleur local,” but only the sign of ideal technique of the ideal description, allowing to enter this life. The woman, who remains silent throughout the whole film, cooking and eating, kindling the fire and sewing, giving alms and combing her hair before us, recites in the final poem as a prayer: artless and sorrowful tanku about loneliness, about the constancy of losses and gainings. Sokurov shoots this unexpected stroke in his personage's portrait as a lyrical coda of his work.

该剧讲述了善良勤劳的婆婆与三个性格迥异的儿媳妇之间发生的故事，并由此延伸向社会各种阶层和领域的故事。

该剧讲述了善良勤劳的婆婆与三个性格迥异的儿媳妇之间发生的故事，并由此延伸向社会各种阶层和领域的故事。

闪耀的婆婆：在繁华都市的背后，隐藏着这样一段令人揪心的故事。婆婆本在国外忙于一项价值十亿的重大合同，可当得知儿子要领证结婚的喜讯后，满心欢喜地放下一切赶回国内。她满心期待地想为儿子的喜事庆祝，却没料到一场噩梦就此拉开帷幕。刚一露面，婆婆就被不明就里的准儿媳误认成了破坏家庭的小三。无论婆婆如何解释，儿媳都充耳不闻，情绪失控之下，竟对婆婆大打出手。在混乱中，那象征着家族传承的百亿股权转让书被无情地撕毁，珍贵无比的传家手镯也被砸得粉碎，更令人痛心的是，儿子的遗照也未能幸免。婆婆在这接二连三的打击下，身心俱疲，最终被虐至昏迷。然而，当儿媳得知真相后，不仅没有丝毫悔意，反而为了保全自己，翻脸不认账。

黎思思因多年未孕遭婆婆蒋玉珍和小姑子李明薇刁难。怀孕后，反被诬陷出轨、谋夺家产。为自证清白，她冒险进行羊水穿刺，证实孩子是丈夫李明远的。真相揭开，李明薇竟非婆婆亲生。经历跳楼风波后，婆婆幡然醒悟，跪下道歉，一家人最终和解，期待新生命的到来。