A wealthy family from Calcutta is on the last day of their vacation in Darjeeling, a hill station at the foot of Mount Kanchenjungha, t he second highest peak of the Himalayas. Until now, they have been unable to catch a glimpse of the peak Kanchenjungha.The family members are dominated by the father, Indranath (Chhabi Biswas), an industrialist. He wants his daughter to marry a man of his choice and hopes that the man will propose if they are left together alone for some time. 　　Several long walks and long conversations form the main body of the film. The real-time drama unfolds the daughter's feelings about her father's idea, and the negative reactions to this by her mother and others. 　　By accident, she meets an outsider, Ashoke, a young student who has refused a job offer from Indranath. Though nothing develops between them, his presence coupled with the setting of mountains and the failure of her sister's marriage, prompt her to reject the proposed suitor. 　　At the end of his walk, the industrialist arrives at a rendezvous point, expecting to meet his family and the successful suitor. None of them is present to greet him. As the mist clears, the peak of Kanchenjungha is revealed in its full glory. But Indranath is too pre-occupied to admire it. 　　Kanchenjungha was Ray's first original screenplay and for the first time, he was shooting in color. The film shows about 100 minutes (in real time) in the life of a group of rich Bengalis on vacation.Unlike the usual Ray films, it has a fragmented narrative with no central characters, and no straight narrative in the classical sense. 　　It is a very structured and composed film that uses color and nature to heighten the drama. Ray told his biographer Andrew Robinson: "The idea was to have the film starting with sunlight. Then clouds coming, then mist rising, and then mist disappearing, the cloud disappearing, and then the sun shining on the snow-peaks. There is an independent progression to Nature itself, and the story reflects this." 　　As the weather becomes misty - the young daughter and the suitor part at that point, Indranath meets Ashoke, and the elder daughter, Amina and her husband have a bitter moment between them. And then when the sun appears again - Amina's daughter comes back to her parents and they accept her, the misunderstanding is cleared up, and the younger daughter and Ashoke develop a tentative relationship with a hint of future prospects. 　　The characters and the Nature are interrelated in mood. In his later film Asani Sanket (Distant Thunder, 1973), Ray attempted quite the opposite. While the Nature is shown in its full glory and lushness, in contrast, the characters starve and do inhuman things. 　　As the characters do not change the clothes during the film (it being depiction of a real time event that happens in 100 odd minutes), the colors of clothes too add a dimension to the characters. 　　About Kanchenjungha, Ray told in an interview to Cineaste magazine, "(It was) a very personal film. It was a good ten to fifteen years ahead of its time... Kanchenjungha told the story of several groups of characters and it went back and forth. ... It's a very musical form, but it wasn't liked. The reaction was stupid. Even the reviews were not interesting. But, looking back now, I find that it is a very interesting film."

A wealthy family from Calcutta is on the last day of their vacation in Darjeeling, a hill station at the foot of Mount Kanchenjungha, t he second highest peak of the Himalayas. Until now, they have been unable to catch a glimpse of the peak Kanchenjungha.The family members are dominated by the father, Indranath (Chhabi Biswas), an industrialist. He wants his daughter to marry a man of his choice and hopes that the man will propose if they are left together alone for some time. 　　Several long walks and long conversations form the main body of the film. The real-time drama unfolds the daughter's feelings about her father's idea, and the negative reactions to this by her mother and others. 　　By accident, she meets an outsider, Ashoke, a young student who has refused a job offer from Indranath. Though nothing develops between them, his presence coupled with the setting of mountains and the failure of her sister's marriage, prompt her to reject the proposed suitor. 　　At the end of his walk, the industrialist arrives at a rendezvous point, expecting to meet his family and the successful suitor. None of them is present to greet him. As the mist clears, the peak of Kanchenjungha is revealed in its full glory. But Indranath is too pre-occupied to admire it. 　　Kanchenjungha was Ray's first original screenplay and for the first time, he was shooting in color. The film shows about 100 minutes (in real time) in the life of a group of rich Bengalis on vacation.Unlike the usual Ray films, it has a fragmented narrative with no central characters, and no straight narrative in the classical sense. 　　It is a very structured and composed film that uses color and nature to heighten the drama. Ray told his biographer Andrew Robinson: "The idea was to have the film starting with sunlight. Then clouds coming, then mist rising, and then mist disappearing, the cloud disappearing, and then the sun shining on the snow-peaks. There is an independent progression to Nature itself, and the story reflects this." 　　As the weather becomes misty - the young daughter and the suitor part at that point, Indranath meets Ashoke, and the elder daughter, Amina and her husband have a bitter moment between them. And then when the sun appears again - Amina's daughter comes back to her parents and they accept her, the misunderstanding is cleared up, and the younger daughter and Ashoke develop a tentative relationship with a hint of future prospects. 　　The characters and the Nature are interrelated in mood. In his later film Asani Sanket (Distant Thunder, 1973), Ray attempted quite the opposite. While the Nature is shown in its full glory and lushness, in contrast, the characters starve and do inhuman things. 　　As the characters do not change the clothes during the film (it being depiction of a real time event that happens in 100 odd minutes), the colors of clothes too add a dimension to the characters. 　　About Kanchenjungha, Ray told in an interview to Cineaste magazine, "(It was) a very personal film. It was a good ten to fifteen years ahead of its time... Kanchenjungha told the story of several groups of characters and it went back and forth. ... It's a very musical form, but it wasn't liked. The reaction was stupid. Even the reviews were not interesting. But, looking back now, I find that it is a very interesting film."

《心中观世音》是一部解读中国传统文化，宣扬和谐理念的影片。 　　影片主要讲述了中华民族的观音信仰、普陀山的由来和“和谐济世、扶危济困”的观音文化的演变与传承，诠释了千百年来人们为完善道德品质所追求的目标，反映了佛教从古印度传入中国，再东传到朝鲜和日本的文化史，不仅收入以前人所未知的若干资料，导演和编剧还率摄制组远赴甘肃敦煌、山西云冈、西藏拉萨、四川大足以及印度和日本拍摄。影片打破一般宗教题材的惯例，着重从文化的角度去点染观世音，从世俗的角度去介绍观世音，特别着重介绍观世音身上反映出的种种文化现象和中华民族心中那种大慈大悲的价值观。并通过蒙太奇的手法，把美丽的观音故事、丰富的观音文化，艺术地呈现于银幕，让观众撩开佛教上空袅袅飘荡的五彩祥云，深刻体味佛教独特的色空世界。片中的佛教渊源、佛教与中国多元文化如何碰撞、交融的历史嬗变，还着重表现了佛教对现代人的生活如何产生着影响。影片由“五个一工程奖”获得者、国家一级导演张鑫先生执导，片中解说由著名演员濮存昕担纲，值得期待。 　　影片在审片阶段就获得了影视主管部门及宗教界等各界人士的高度赞扬和一致好评，相信对广大观众来说也将是一次难得的心灵体验。

《心中观世音》是一部解读中国传统文化，宣扬和谐理念的影片。 　　影片主要讲述了中华民族的观音信仰、普陀山的由来和“和谐济世、扶危济困”的观音文化的演变与传承，诠释了千百年来人们为完善道德品质所追求的目标，反映了佛教从古印度传入中国，再东传到朝鲜和日本的文化史，不仅收入以前人所未知的若干资料，导演和编剧还率摄制组远赴甘肃敦煌、山西云冈、西藏拉萨、四川大足以及印度和日本拍摄。影片打破一般宗教题材的惯例，着重从文化的角度去点染观世音，从世俗的角度去介绍观世音，特别着重介绍观世音身上反映出的种种文化现象和中华民族心中那种大慈大悲的价值观。并通过蒙太奇的手法，把美丽的观音故事、丰富的观音文化，艺术地呈现于银幕，让观众撩开佛教上空袅袅飘荡的五彩祥云，深刻体味佛教独特的色空世界。片中的佛教渊源、佛教与中国多元文化如何碰撞、交融的历史嬗变，还着重表现了佛教对现代人的生活如何产生着影响。影片由“五个一工程奖”获得者、国家一级导演张鑫先生执导，片中解说由著名演员濮存昕担纲，值得期待。 　　影片在审片阶段就获得了影视主管部门及宗教界等各界人士的高度赞扬和一致好评，相信对广大观众来说也将是一次难得的心灵体验。

管冲身负天机传承，年少便身负守护家国、安定天下的英雄使命。乱世之中，他偶遇落难女子姬婉儿，二人相互扶持，共渡险境。面对朝堂奸佞、外敌压境、阴谋诡计，管冲以少年之身临危受命，凭借超凡智谋与过人胆识，步步为营、屡破危局，从无名之辈一步步成为执掌国运、受万民敬仰的少年国师。他护姬婉儿一世安稳，挽狂澜于既倒，用智慧与热血完成使命，成就一段少年封神的传奇。

支教老师沈知夏，意外穿越到大武王朝，被皇帝萧景昀所救。但沈知夏因为失明，不知道穿越了。萧景昀从沈知夏口中得知自己要被贵妃杀死，提前捉拿贵妃，验证了沈知夏穿越的事实。他又从沈知夏口中，得知徐太守隐瞒灾害，便将其解决。沈知夏提供种子，萧景昀种植出了红薯、土豆、玉米等作物，解决了大武王朝的粮食危机。 庆国摄政王企图侵占大武三城，沈知夏巧破三关，让徐嵩的阴谋破灭身亡。也让大武灭庆国，拓土千里，成了千古一帝。

支教老师沈知夏，意外穿越到大武王朝，被皇帝萧景昀所救。但沈知夏因为失明，不知道穿越了。萧景昀从沈知夏口中得知自己要被贵妃杀死，提前捉拿贵妃，验证了沈知夏穿越的事实。他又从沈知夏口中，得知徐太守隐瞒灾害，便将其解决。沈知夏提供种子，萧景昀种植出了红薯、土豆、玉米等作物，解决了大武王朝的粮食危机。 庆国摄政王企图侵占大武三城，沈知夏巧破三关，让徐嵩的阴谋破灭身亡。也让大武灭庆国，拓土千里，成了千古一帝。

寒山寺预言周家有女能预知未来，嫡女周芷月以国师之身，夜观天象推演至呕血，却屡屡被庶妹周安安抢先公布结果。周安安凭手背彼岸花印记，谎称被周芷月囚禁逼迫，夺走“天命圣女”之名。上一世，太子裴书锦为护周安安，将周芷月割舌断手、五马分尸，其爹娘也为讨公道惨遭践踏。一朝重生，周芷月回到身份被夺当日，誓要扭转命运。她屡次请求自证，却发现周安安总能精准复刻推演结果，背后似有裴书锦相助。

乡下姑娘斯坦丝来到维也纳专门为宫廷烘烤面包的姑娘家，邂逅了年轻军官儒利克。单纯快乐的斯坦丝给儒利克带来了灵感，他谱写了一首美妙的进行曲，聪明的姑娘把乐谱藏进了一个给皇上烤得面包卷儿里，这下可有好戏看了...

乡下姑娘斯坦丝来到维也纳专门为宫廷烘烤面包的姑娘家，邂逅了年轻军官儒利克。单纯快乐的斯坦丝给儒利克带来了灵感，他谱写了一首美妙的进行曲，聪明的姑娘把乐谱藏进了一个给皇上烤得面包卷儿里，这下可有好戏看了...