民国时期，丁蜀镇柳家壶庄学徒连城，手艺高超，与师妹心梅青梅竹马，奈何被柳瑞明横刀夺爱，并诬陷打伤连城。李郎中之女秀竹暗恋连城，将其救治并鼓励陪伴左右，终于打动连城，却突然传来心梅病逝的噩耗。

屡获殊荣的媒体艺术家雷菲克·安纳多尔（Refik Anadol）与意大利珠宝世家BVLGARI宝格丽携手开启一场沉浸式艺术之旅，探索品牌最具标志性的"灵蛇"符号的无限维度。这是一场历时一年的创意实验﹣﹣艺术灵感与数字创新在此交融，匠心工艺与科技未来于此共鸣。本片首次独家记录这一创想过程，揭秘传统与革新如何碰撞共生，最终缔造出时代杰作。

屡获殊荣的媒体艺术家雷菲克·安纳多尔（Refik Anadol）与意大利珠宝世家BVLGARI宝格丽携手开启一场沉浸式艺术之旅，探索品牌最具标志性的"灵蛇"符号的无限维度。这是一场历时一年的创意实验﹣﹣艺术灵感与数字创新在此交融，匠心工艺与科技未来于此共鸣。本片首次独家记录这一创想过程，揭秘传统与革新如何碰撞共生，最终缔造出时代杰作。

江苏省广播电视总台网络产品部自制苏超主题微短剧《足Goal江苏》，将镜头对准“苏超”赛场外的普通民众，故事取材于“苏超”热搜新闻，且邀请故事原型真实出演，头部网络达人叨叨傅、“苏超”金牌解说员洪超、贾紫婷倾情加盟。本剧兼顾真实性与戏剧性，以风趣幽默的轻喜方式书写精彩的江苏人，表现江苏人相亲相爱、相互团结、相互温暖的精神状态，突出“苏超”在凝聚城市精神、展现地域文化、助力文旅融合、赋能江苏经济等方面的积极意义。

《吃在江苏》系列片25分钟*8集系统地梳理江苏的饮食文化：从古至今，由南及北，从饕餮大餐到街头美味，从江河湖海到深山密林，讲述和呈现苏派美食的过往和当下。本片将注重如下要点：苏派美食的各种风味、特点，南北饮食的差异和地域性；人对美食的创造、改变和情感；饮食与人的性情、品格的息息相关。

全剧由五个相互关联又独立成篇的故事组成，以江苏省城市足球联赛（简称“苏超”）为切口，讲述了一家五口人与“苏超”相关的温暖故事。

Semiotics of the Kitchen adopts the form of a parodic cooking demonstration in which, Rosler states, "An anti-Julia Child replaces the domesticated 'meaning' of tools with a lexicon of rage and frustration." In this performance-based work, a static camera is focused on a woman in a kitchen. On a counter before her are a variety of utensils, each of which she picks up, names and proceeds to demonstrate, but with gestures that depart from the normal uses of the tool. In an ironic grammatology of sound and gesture, the woman and her implements enter and transgress the familiar system of everyday kitchen meanings — the securely understood signs of domestic industry and food production erupt into anger and violence. In this alphabet of kitchen implements, states Rosler, "when the woman speaks, she names her own oppression."

Semiotics of the Kitchen adopts the form of a parodic cooking demonstration in which, Rosler states, "An anti-Julia Child replaces the domesticated 'meaning' of tools with a lexicon of rage and frustration." In this performance-based work, a static camera is focused on a woman in a kitchen. On a counter before her are a variety of utensils, each of which she picks up, names and proceeds to demonstrate, but with gestures that depart from the normal uses of the tool. In an ironic grammatology of sound and gesture, the woman and her implements enter and transgress the familiar system of everyday kitchen meanings — the securely understood signs of domestic industry and food production erupt into anger and violence. In this alphabet of kitchen implements, states Rosler, "when the woman speaks, she names her own oppression."

2021威尼斯电影节非竞赛展映。

2021威尼斯电影节非竞赛展映。