改编自黎青燃原著小说《神说有光时》。 26岁的聂清舟无意间进入恒星坠落形成的时空黑洞，穿梭来到平行时空，重返17岁，认识了同年级的夏仪。夏仪与奶奶、弟弟相依为命，她一边帮奶奶看管小卖部、照顾病残的弟弟，一边努力学习，并坚持寻找机会练习钢琴。夏仪面对困难从不退缩，这让聂清舟觉得自己也要为理想再拼搏一次。两人在相互帮助中成为好友，他们的乐观向上、坚韧不拔也影响着身边的朋友们。聂清舟和夏仪最终经过时空的变化走到了一起，也实现了各自的梦想。

改编自黎青燃原著小说《神说有光时》。 26岁的聂清舟无意间进入恒星坠落形成的时空黑洞，穿梭来到平行时空，重返17岁，认识了同年级的夏仪。夏仪与奶奶、弟弟相依为命，她一边帮奶奶看管小卖部、照顾病残的弟弟，一边努力学习，并坚持寻找机会练习钢琴。夏仪面对困难从不退缩，这让聂清舟觉得自己也要为理想再拼搏一次。两人在相互帮助中成为好友，他们的乐观向上、坚韧不拔也影响着身边的朋友们。聂清舟和夏仪最终经过时空的变化走到了一起，也实现了各自的梦想。

主人公静是一名28岁的高中国语教师，她原本对学生毫无情感投入，仅仅是为了摆脱无业生活而勉强成为教师。她本想避免麻烦、不与学生深交，然而却意外卷入问题学生们的种种事情之中，不得不去“说教”，尽管她根本不愿意干涉这些事，甚至在心中呐喊：“为什么是我来‘说教’？”无奈之下，她只能一边忍耐，一边努力应对。

主人公静是一名28岁的高中国语教师，她原本对学生毫无情感投入，仅仅是为了摆脱无业生活而勉强成为教师。她本想避免麻烦、不与学生深交，然而却意外卷入问题学生们的种种事情之中，不得不去“说教”，尽管她根本不愿意干涉这些事，甚至在心中呐喊：“为什么是我来‘说教’？”无奈之下，她只能一边忍耐，一边努力应对。

A famous docking: Algiers, the White City, in a radiant light. The picture darkens with a voice-over reading of the text of the surrender of the Dey of Algiers in 1830. About the Conquest confronts us with a page of the French national novel that was too hastily turned. Franssou Prenant audaciously gathers a community of complicit voices who read a succession of archives (reports, testimonies, memoirs, historical, geographical, and urbanistic considerations) in a matter-of- fact tone. Recounting the stages of France’s colonisation of Algeria between 1830 and 1848, they outline the ideological landscape of a staggering annihilation effort. The film could just as well have been entitled About Destruction. Franssou Prenant thus constructs a memorial with a technique common to History and cinema: montage. A montage of texts: the words of Victor Hugo, Ernest Renan, Tocqueville are interwoven with those of military men, senior officials, brigadiers, without any way of distinguishing the authors. Then, a montage of images through which yesterday’s acts of violence and dispossession echo in the present: in contrast to an account of murders, the film presents a desolate desert landscape or the frank and innocent smiles of teenagers. The promises of riches offered by colonized Algeria are accompanied by shots of an opulent, Haussmann-style Parisian city centre. We are plunged into a reflection on the nature of this extraordinary violence, through a pictorial meandering into contemporary Algeria, entwined with archival extracts heard in an interplay of convergence and divergence. The piling up of texts brings to light both the ethnocentric and racist imaginary and the cold logic of economic exploitation that dictated the colonization of Algeria and its irreversible consequences, from which Algerian society still suffers today. 　　源自：https://fidmarseille.org/en/film/de-la-conquete-about-the-conquest/

Michel Piccoli stars as an amorous dentist whose philandering seemingly knows no bounds. He is no sooner shooing such lovelies as Anna Karina and Elsa Martinelli out the back door than he is welcoming such "new blood" as Joanna Shimkus into his living room. When Shimkus demands a commitment, Piccoli runs home movies of his past girlfriends, insisting all the while that he has forgotten them and that Joanna is the only woman in his life. The very next day he's running his movies for still another woman, and the song continues. De L'Amour is based on an 1822 novel by Stendhal (who would have been visionary indeed if he'd included all those home movies!)

从心灵哲学的角度看，“平行论”是一种身心相互作用的二元论，它认为精神事件与物质事件发生在平行的存在过程中，两者以特定的方式相互作用着，当然这并不意味着其中一个可以诱导另一个去做和它同样的事。电影用同样的方式展示了两个世界，两座城市。它们看似独立存在，但实际上它们通过走廊、时空隧道和跨维度桥梁相互交流着。这两个相反的世界，乌托邦和反乌托邦，终将在一个“混血”的世界中统一。那不是两个世界单纯的加总，而是两个世界的某种融合。在那里，由两个相反世界融合诞生的新世界就有了一个新的身份。在意大利语中，“meccio”(混血)源于晚期拉丁语mixtīcius，意思是“混合”，由此很可能衍生出了法语里的成语métis，意为我们每个人融合多重身份，多重个性于一身的能力。影片的主人公是一个的“聚合”，是一个眼睛上长有拉链，脸颊上生长着玫瑰花瓣的女人，她看上去就像花。影片由她介绍给大家，也由她落幕，好像她的存在引导着和谐的融合之路——那也是一个“混血”的存在——似乎她的故事就是通往希望与满足世界的必经之路，这个过程充满可能性，起始的两条平行道路即象征了一种获得新融合身份、兼容发展和成就独特的可能性。

想要守护历史的年轻史官和为了成为国王而想要抹去历史的王世孙为了彼此的信念而斗争的故事。

《华山论鉴》是陕西卫视的一档大型文化收藏节目。