《经济与法》每天精心选择一个典型案例，用三十分钟悉心讲述案例背后蕴涵的法理及规章制度，挖掘市场经济活动中存在的法律缺失，及时传播法律法规，充分发挥栏目在经济生活领域中的法制宣传作用。作为财经频道唯一一档法制专题节目，《经济与法》着重向观众传递“经济活动中的法律规则”，关注个体在经济活动中的法律困惑，法律认识，以栏目的影响来推动市场经济的规范化和法制化。 　　《经济与法》是由中央电视台经济频道与最高人民法院办公厅合办的法制专题栏目，自2003年2月开播以来，始终以“推进中国市场经济规范进程”为宗旨，节目以“理性的精神，规则的力量，辨证的魅力”来打动和吸引观众。

One of the first recorded images of a giraffe appeared in the drawings of the ancient Egyptians, who named it ‘sr’. In the 1990s, veterinarian Motke Levinson purchased four giraffes on behalf of two zoos. Upon their arrival in the same container to a port in the Red Sea, they were divided. Two were sent to an Israeli zoo while the others were sent to a Palestinian zoo. Living outside their natural habitat, their survival became an uphill battle at the zoos, and within years, they perished. This is just one of many stories that director Lea Harlaub ponders on. From the wall paintings of ancient Egyptians to exotic animal exports and modern-day safari tourism, this essay film takes us on a hypnotic journey to weave together the history of this majestic animal with the history of humanity.

One of the first recorded images of a giraffe appeared in the drawings of the ancient Egyptians, who named it ‘sr’. In the 1990s, veterinarian Motke Levinson purchased four giraffes on behalf of two zoos. Upon their arrival in the same container to a port in the Red Sea, they were divided. Two were sent to an Israeli zoo while the others were sent to a Palestinian zoo. Living outside their natural habitat, their survival became an uphill battle at the zoos, and within years, they perished. This is just one of many stories that director Lea Harlaub ponders on. From the wall paintings of ancient Egyptians to exotic animal exports and modern-day safari tourism, this essay film takes us on a hypnotic journey to weave together the history of this majestic animal with the history of humanity.

长期在外的军人赛回到家乡参加女儿的婚礼。婚礼上欢快的场面让他想起了当年的自己：那时他刚刚12岁，新娘图伊特18岁。图伊特是小妾的女儿，没有什么文化，赛对这个父母硬塞给他的妻子厌恶至极。尽管图伊特竭尽全力想要得到丈夫的爱，但这场带有包办性质的婚姻从一开始就注定是场失败。为了逃避图伊特，赛参了军，并且爱上了另一个女孩，最终选择了离开家乡。 多年以后，在女儿的婚礼上，再一次站在赛身旁的图伊特，泪如泉涌。

華沙大學助理教授馬立克長途跋涉，去探訪闊別五年的好朋友兼大學同學楊，目的是要請楊返回大學工作。37歲的楊放棄了大學教席，在一個孤立的氣象站工作，與任職小學教師的妻子安娜及他的祖父住在偏遠的農村小屋，家中甚至沒有一個電視機。當地人亦沒有什麼文化生活，與楊格格不入。 　　馬立克是個前途燦爛的物理學家，專長是研究人工水晶體，曾在哈佛大學和莫斯科留學兩年半。馬立克已離婚，採取玩世不恭的態度對待工作和愛情。他認為付出的必須要有回報，他無法理解為何楊可以在這貧瘠的地區滿足自己。 　　馬立克對安娜描述外地的風光，以幻燈片證明美國的美好生活和蘇聯共產主義的弊端，引起從小在窮鄉僻壤長大的安娜憧憬，兩人甚至幾乎發生戀情，但她最終還是把他送走。 　　影片藉馬立克與楊對人生、愛情和科學的不同態度，探討知識分子應如何在社會上發揮功能，並提出了深刻的哲學問題。

讲述了人类饮食习惯的改变过程，食物大批量生产所带来的一系列后果，以及肥胖与瘦弱的根源是什么，其中，一定有你想象不到的结论。

A masterwork of Sri Lankan cinema, this moving saga of family and class conflict was made by Lester James Peries, his country’s foremost filmmaker and a director much admired by India’s Satyajit Ray. 　　Gamperaliya is regarded as a cornerstone of Sri Lankan cinema, launching upon its release in 1964 ‘a revolution, not only in the way films were made, but also in the content,’ according to producer Anton Wickramasinghe. 　　Peries sought an alternative to the Bollywood-influenced melodramas that dominated Sri Lanka’s commercial cinema, writing stories that looked at the staple issues of melodrama in a more nuanced way. 　　The film, adapted from a novel by Martin Wickramasinghe, focuses on Piyal, a teacher and member of the new rising middle class, who falls in love with the daughter of his village’s leading aristocratic clan; the girl’s parents insist upon a marriage to a stuffed shirt of her own class, one that shifting social forces are already rendering obsolete. 　　Gamperaliya is filmed in an elegant and uncoercive narrative style that has been compared to Satyajit Ray’s Apu Trilogy; its aesthetic choices also have a moral dimension: at every level, this is a movie about the importance of setting aside illusion and exaggeration and seeing things as they are.

四位大师级导演合拍片，关于葡萄牙北部文化重镇吉马良斯的四个故事。佩德罗·科斯塔《甜蜜的招魂术》，曼努埃尔·德·奥里维拉《大都市的征服者》维克托·艾里斯《玻璃游戏》，阿基·考里斯马基《吉马良斯》