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.

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.

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。

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。

叙利亚影史上最著名也是最具争议性的一部纪录片，由毫不妥协的叙利亚导演Omar Amiralay拍摄，也是他的代表作。影片被禁至今，奥马尔流亡海外直到30年后才得以回国拍摄他的第二部作品。本片获1976年柏林国际影展新电影论坛Otto Dibelius奖。 　　The first documentary to present an unabashed critique of the impact of the Syrian government's agricultural and land reforms, Everyday Life in a Syrian Village delivers a powerful jab at the state's conceit of redressing social and economic inequities. Interviews with farmers, health workers and a police officer contrast the peasants' regard for the state with the mindset of state representatives toward those peasants. Sa'adallah Wannus, a prominent Syrian playwright and essayist collaborated with documentary pioneer Amiralay on the project. The film remains banned in Syria. The original print has been restored and digitized very recently, and subtitled in English especially for this program. 　　Director Omar Amiralay was born in Damascus in 1944 to the son of a high-ranking officer in the Ottoman military and a Lebanese mother, Omar Amiralay headed to Paris in 1965 to pursue studies in drama and theater at the Théatre des Nations. Gradually he began to lean towards cinema and enrolled at the Institut des Hautes Etudes Cinematographiques, or IDHEC (now known as FEMIS) in 1967. He was deeply suspicious of fiction cinema, and after a year at the institute began to question whether film was really his vocation. When the 1968 student revolt erupted, Amiralay joined the hordes of protestors, and began to film. His fate was sealed; he never returned to the IDHEC and instead began to make documentary films. 　　He returned to Damascus eager to instigate a new documentary cinema. His best-known documentary film, conceived with Sa'adallah Wannus, one of Syria's most celebrated modernist playwrights and essayists, was radically different. Titled al-Hayat al-Yaomiyyah fi Qarya Suriyya (Everyday Life in a Syrian Village, 1974) it was a scathing critique of the government's failure to provide basic amenities to the poor. The film, produced by the General Organization for Cinema, was banned and remains so to this day. 　　From very early on, Amiralay's films earned a number of awards worldwide, beginning with Leipzig (1971) for Film-Essay on the Euphrates Dam. His cinema has become canon for generations of documentary filmmakers in the Arab world. The most recent edition of the Cinema du Reel festival at Paris' Centre Pompidou dedicated an hommage to his work in March 2006.

叙利亚影史上最著名也是最具争议性的一部纪录片，由毫不妥协的叙利亚导演Omar Amiralay拍摄，也是他的代表作。影片被禁至今，奥马尔流亡海外直到30年后才得以回国拍摄他的第二部作品。本片获1976年柏林国际影展新电影论坛Otto Dibelius奖。 　　The first documentary to present an unabashed critique of the impact of the Syrian government's agricultural and land reforms, Everyday Life in a Syrian Village delivers a powerful jab at the state's conceit of redressing social and economic inequities. Interviews with farmers, health workers and a police officer contrast the peasants' regard for the state with the mindset of state representatives toward those peasants. Sa'adallah Wannus, a prominent Syrian playwright and essayist collaborated with documentary pioneer Amiralay on the project. The film remains banned in Syria. The original print has been restored and digitized very recently, and subtitled in English especially for this program. 　　Director Omar Amiralay was born in Damascus in 1944 to the son of a high-ranking officer in the Ottoman military and a Lebanese mother, Omar Amiralay headed to Paris in 1965 to pursue studies in drama and theater at the Théatre des Nations. Gradually he began to lean towards cinema and enrolled at the Institut des Hautes Etudes Cinematographiques, or IDHEC (now known as FEMIS) in 1967. He was deeply suspicious of fiction cinema, and after a year at the institute began to question whether film was really his vocation. When the 1968 student revolt erupted, Amiralay joined the hordes of protestors, and began to film. His fate was sealed; he never returned to the IDHEC and instead began to make documentary films. 　　He returned to Damascus eager to instigate a new documentary cinema. His best-known documentary film, conceived with Sa'adallah Wannus, one of Syria's most celebrated modernist playwrights and essayists, was radically different. Titled al-Hayat al-Yaomiyyah fi Qarya Suriyya (Everyday Life in a Syrian Village, 1974) it was a scathing critique of the government's failure to provide basic amenities to the poor. The film, produced by the General Organization for Cinema, was banned and remains so to this day. 　　From very early on, Amiralay's films earned a number of awards worldwide, beginning with Leipzig (1971) for Film-Essay on the Euphrates Dam. His cinema has become canon for generations of documentary filmmakers in the Arab world. The most recent edition of the Cinema du Reel festival at Paris' Centre Pompidou dedicated an hommage to his work in March 2006.

Pietramezzana，在路坎白云岩的一个偏僻的村庄，很可能会消失。它的居民，由火山多米尼加国领导不放弃，相信一个工厂的开幕可能是解决他们所有的麻烦，他们希望确保该项目是成功的…

Pietramezzana，在路坎白云岩的一个偏僻的村庄，很可能会消失。它的居民，由火山多米尼加国领导不放弃，相信一个工厂的开幕可能是解决他们所有的麻烦，他们希望确保该项目是成功的…

改编自タイム凉介的漫画《70岁的初产》《70岁的梦》。65岁的老人朝一（小日向文世饰演）退休后回到家，却被70岁的妻子夕子（竹下景子饰演）告知自己怀孕了。朝一难以接受这个事实，两个人去了妇产科确诊发现夕子确实怀孕了。一辈子没有孩子的夕子想把这个孩子生下来，虽然她干劲十足，但是超高龄生孩子风险很大……

改编自タイム凉介的漫画《70岁的初产》《70岁的梦》。65岁的老人朝一（小日向文世饰演）退休后回到家，却被70岁的妻子夕子（竹下景子饰演）告知自己怀孕了。朝一难以接受这个事实，两个人去了妇产科确诊发现夕子确实怀孕了。一辈子没有孩子的夕子想把这个孩子生下来，虽然她干劲十足，但是超高龄生孩子风险很大……