剧情简介： 　　该片记录了１９２０年海原大地震幸存者，一个九旬回族老人马老汉和他七十多岁的老伴的平常生活，甚至老人归真后，家人如何送葬的场面，他的镜头无一遗漏。老人生活的清贫我们无法想象，然而，我们更无法想象的是他们的精神的富足。老先生和老太太神情安详，看不出忧愁，看不出沉重。 　　导演简介： 　　查晓原，男，回族，1957年生于四川，宁夏银川人。 　　《老马》是他的第一部纪录片。 幼年随家人来到银川。毕业于北京邮电大学，47岁弃商支教，一年后，开始拍摄村子里的人和那点儿事。作品有：《老马家的日子》、《老马家的日子之搬家》、《老马家的日子之结婚》、《两个人的村庄》、《归真》、《虎虎》。

剧情简介： 　　该片记录了１９２０年海原大地震幸存者，一个九旬回族老人马老汉和他七十多岁的老伴的平常生活，甚至老人归真后，家人如何送葬的场面，他的镜头无一遗漏。老人生活的清贫我们无法想象，然而，我们更无法想象的是他们的精神的富足。老先生和老太太神情安详，看不出忧愁，看不出沉重。 　　导演简介： 　　查晓原，男，回族，1957年生于四川，宁夏银川人。 　　《老马》是他的第一部纪录片。 幼年随家人来到银川。毕业于北京邮电大学，47岁弃商支教，一年后，开始拍摄村子里的人和那点儿事。作品有：《老马家的日子》、《老马家的日子之搬家》、《老马家的日子之结婚》、《两个人的村庄》、《归真》、《虎虎》。

The autistic Václav is regarded as a harmless enough soul but, as the years pass, he causes increasing problems, and his neighbours in the village and his colleagues in the agricultural cooperative are running out of patience. Locked in his own playful, poetic world, he lives with his aging mum who fondly accepts her son’s madcap ideas and excesses. But the majority think that someone who shoots at passers-by with an air rifle and tries to drive a tractor for fun belongs in an institution. Even the man’s respectable younger brother František refuses to take him under his wing anymore. Then one of Václav’s reckless exploits lands him in prison. Who will find the courage to sign the petition for his release? This tragicomedy is inspired by a real story from the 1990s which received considerable exposure when the protagonist was granted clemency by former President Václav Havel. Ivan Trojan and Jan Budař won Czech Lions for their performances. 　　About the director 　　Jiří Vejdělek (b. 1972, Šluknov) graduated in film direction from FAMU after studying at the Teaching College in Ústí nad Labem. He attracted attention with his student films (Sweets / Sladkosti, 1999, selected for the short film programme at the Cannes IFF). He signalled his interest in comedic material straight away with his feature film debut Holiday Makers (Účastníci zájezdu, 2006), an adaptation of Michal Viewegh’s bestselling novel that became the biggest Czech box office hit of 2006 and won Eva Holubová a Best Actress award at the Tribeca Film Festival in New York in 2006 and a Special Jury Prize for the entire cast. Last year, in addition to Václav, Vejdělek directed the poetic comedy Roming, also written by Marek Epstein. He also works in television (the series The Office / Redakce).

The autistic Václav is regarded as a harmless enough soul but, as the years pass, he causes increasing problems, and his neighbours in the village and his colleagues in the agricultural cooperative are running out of patience. Locked in his own playful, poetic world, he lives with his aging mum who fondly accepts her son’s madcap ideas and excesses. But the majority think that someone who shoots at passers-by with an air rifle and tries to drive a tractor for fun belongs in an institution. Even the man’s respectable younger brother František refuses to take him under his wing anymore. Then one of Václav’s reckless exploits lands him in prison. Who will find the courage to sign the petition for his release? This tragicomedy is inspired by a real story from the 1990s which received considerable exposure when the protagonist was granted clemency by former President Václav Havel. Ivan Trojan and Jan Budař won Czech Lions for their performances. 　　About the director 　　Jiří Vejdělek (b. 1972, Šluknov) graduated in film direction from FAMU after studying at the Teaching College in Ústí nad Labem. He attracted attention with his student films (Sweets / Sladkosti, 1999, selected for the short film programme at the Cannes IFF). He signalled his interest in comedic material straight away with his feature film debut Holiday Makers (Účastníci zájezdu, 2006), an adaptation of Michal Viewegh’s bestselling novel that became the biggest Czech box office hit of 2006 and won Eva Holubová a Best Actress award at the Tribeca Film Festival in New York in 2006 and a Special Jury Prize for the entire cast. Last year, in addition to Václav, Vejdělek directed the poetic comedy Roming, also written by Marek Epstein. He also works in television (the series The Office / Redakce).

Hulu宣布预订一部真人+动画的喜剧《生活觉醒 Woke》，这部剧灵感来自卡通画家Keith Knight的作品及生活，由他与Marshall Todd负责剧本。《生活觉醒》讲述卡通画家Keef（Lamorne Morris饰演）在旧金山生活，当因为一次牵涉到警察的意外使他成为事件的风浪尖后，这使得他「觉醒」过来。

Flesh of the Void is a terribly disturbing experimental horror film about what it could feel like if death truly were the most horrible thing one could ever experience. It is intended as a trip through the deepest fears of human beings, exploring its subject in a highly grotesque, violent and extreme manner.

Flesh of the Void is a terribly disturbing experimental horror film about what it could feel like if death truly were the most horrible thing one could ever experience. It is intended as a trip through the deepest fears of human beings, exploring its subject in a highly grotesque, violent and extreme manner.

HBO is developing a series adaptation of nonfiction book Empty Mansions, about a wealthy recluse. The story follows Huguette Clark, an elderly, fabulously wealthy recluse who is hospitalized for a number of seemingly minor ailments and a series of events is set into motion regarding her fortune and an unsigned will. Empty Mansions: The Mysterious Life of Huguette Clark and the ...

艺伎，字面上的含意为"以艺术为生"。每个艺伎都要经过严格的训练，学习茶道、书法、乐器、舞蹈、礼节等等。男人们用餐时，她们跪在旁边斟酒上菜，微笑着和他们聊天。待到酒过三旬后，艺伎开始表演以活跃气氛，不论是弹奏乐器或是演唱情歌。最令人称赞的是艺伎的谈话艺术，无论是国际新闻，还是花边消息，她们都了若指掌。 但是艺伎这一古老的文化行业，是否能够在现今充满竞争、科技日新月异的现代日本社会保存下来？十九世纪20年代是艺伎行业的全盛期，有将近80,000名的艺伎，而今却剩下不到1,000名。 　　艺伎的世界始终保持着一种神秘感。她们浓妆的脸上几乎看不出喜怒哀乐，她们是日本文化与艺术的缩影，这也是她们为之骄傲的。艺伎一生就是为了服侍日本上流社会中的达官显贵、富商阔佬，人们只能在那些豪华的茶店酒楼和隐密的日本料亭中看到她们的身影。所以基于上述的种种原因，艺伎一直被笼罩在一层神秘的面纱之下…… 　　 　　Dismissed by Western society as little more than high-priced call girls, the Japanese women known as Geisha are part of a centuries-old tradition that made them a vital part of that country's society. See how they were trained from childhood in music, the arts, conversation and "massaging the male ego," and visit with modern-day Geisha, in this revealing program.

艺伎，字面上的含意为"以艺术为生"。每个艺伎都要经过严格的训练，学习茶道、书法、乐器、舞蹈、礼节等等。男人们用餐时，她们跪在旁边斟酒上菜，微笑着和他们聊天。待到酒过三旬后，艺伎开始表演以活跃气氛，不论是弹奏乐器或是演唱情歌。最令人称赞的是艺伎的谈话艺术，无论是国际新闻，还是花边消息，她们都了若指掌。 但是艺伎这一古老的文化行业，是否能够在现今充满竞争、科技日新月异的现代日本社会保存下来？十九世纪20年代是艺伎行业的全盛期，有将近80,000名的艺伎，而今却剩下不到1,000名。 　　艺伎的世界始终保持着一种神秘感。她们浓妆的脸上几乎看不出喜怒哀乐，她们是日本文化与艺术的缩影，这也是她们为之骄傲的。艺伎一生就是为了服侍日本上流社会中的达官显贵、富商阔佬，人们只能在那些豪华的茶店酒楼和隐密的日本料亭中看到她们的身影。所以基于上述的种种原因，艺伎一直被笼罩在一层神秘的面纱之下…… 　　 　　Dismissed by Western society as little more than high-priced call girls, the Japanese women known as Geisha are part of a centuries-old tradition that made them a vital part of that country's society. See how they were trained from childhood in music, the arts, conversation and "massaging the male ego," and visit with modern-day Geisha, in this revealing program.