After his father was beheaded by ninjas in Banyuwangi '98, Rahayu was traumatized to the point where he found it difficult to concentrate on his prayers due to interference from the khanzab.

After his father was beheaded by ninjas in Banyuwangi '98, Rahayu was traumatized to the point where he found it difficult to concentrate on his prayers due to interference from the khanzab.

该剧改编自白先勇同名小说。故事背景设定在1945年，当人们还沉浸在抗战胜利的喜悦中时，接踵而至的国共内战又将他们卷入无情的战火。剧中展现了人们在战争逼迫下经历生离死别的动人情感。

1945年抗战胜利后，男性战场的硝烟散去，女性生活的大幕缓缓拉开。朱青（连俞涵饰）、秦芊仪（杨谨华饰）、小周（天心饰）三位女子，从青涩女学生到为人妻，她们跟随丈夫从南京辗转至台北眷村，历经迁徙流离与丧夫之痛。在那个动荡不安的时代，她们虽饱尝苦难，却以人性之爱相互扶持，展现了女性坚韧不拔、能够扛起一个时代的动人故事 。

该片讲述第一代空心手工挂面传人张家根艰难困苦与命运抗争的一生。人到晚年，根根回忆起早年以身护井被炸身亡老伴秀秀，带着深情的怀念，根根主动选择“不吃了”，决意追寻老伴而去。临终前根根自己为自己选墓地，打棺材，试寿衣，从容淡定走向另一个世界。

该片讲述第一代空心手工挂面传人张家根艰难困苦与命运抗争的一生。人到晚年，根根回忆起早年以身护井被炸身亡老伴秀秀，带着深情的怀念，根根主动选择“不吃了”，决意追寻老伴而去。临终前根根自己为自己选墓地，打棺材，试寿衣，从容淡定走向另一个世界。

16世纪中叶，我国新疆境内的叶尔羌汗国王子阿布都热西提汗在继承了父王赛依德汗的王位后，平定了战乱，统一了汗国，使民众得以休养生息，安居乐业。汗国的经济、文化也因此得到了空前的发展和繁荣。民间艺人马合木提与女儿阿曼尼萨罕相依为命，并和被逐出宫廷的乐师乌麦尔结为知己。在共同生活的岁月中，阿曼尼萨罕拜乌麦尔为师，学习诗文和乐理知识。几年后，聪颖过人、有着非凡音乐天赋的阿曼尼萨罕，不仅精通了诗歌和韵律，还出落成了一个绝色的美女。一天，汗王微服出游，巧遇阿曼尼萨罕，不禁被她的美貌、歌声及渊博的诗文知识所吸引，不顾王后及以右大臣为首的众臣的反对，毅然将阿曼尼萨罕接进宫中。在宫中，阿曼尼萨罕经受封建保守势力、居心叵测的右大臣及王后的种种歧视和陷害，倍受磨难。但阿曼尼萨罕并没有因此颓唐下去，仍以坚定的信念，在老师乌麦尔的帮助下，历尽了种种艰难，将散乱于民间的木卡姆乐曲收集、整理、汇总成章，辑编成十二木卡姆套曲，使木卡姆音乐成为不朽的篇章，为维吾尔族的古典音乐作出了巨大的贡献。然而，乌麦尔却惨遭伊善、右大臣的毒手。阿曼尼萨罕也在汗王出征讨伐叛乱期间，郁郁寡欢、忧忿交加，最终病逝。但是，具有艺术文献价值的十二木卡姆套曲却深受人民喜爱，被后人一代一代传了下来，阿曼尼萨罕也因此成为人们有口皆碑的传奇人物。

溯源面条流变的精彩故事和吴堡空心挂面的历史；以空心挂面制作者为注脚，揭秘吴堡空心挂面制作的神秘工艺；借由不同厨师的视角，呈现空心挂面美食的绝美风味。深入乡村社会，记录吴堡空心挂面独一无二的民俗文化故事；穿越于 3 位不同年龄挂面制作者的人生，窥探挂面产业的发展之道。从吴堡到深圳，空心挂面不断创造着挂面届的荣光，续写着新传奇。

溯源面条流变的精彩故事和吴堡空心挂面的历史；以空心挂面制作者为注脚，揭秘吴堡空心挂面制作的神秘工艺；借由不同厨师的视角，呈现空心挂面美食的绝美风味。深入乡村社会，记录吴堡空心挂面独一无二的民俗文化故事；穿越于 3 位不同年龄挂面制作者的人生，窥探挂面产业的发展之道。从吴堡到深圳，空心挂面不断创造着挂面届的荣光，续写着新传奇。

This bizarre film by one of the most original directors now working in Germany is hermetic, expressionist, oblique, and of a creative perversity that bespeaks the presence of a genius. Purporting to deal with a real-life 19th century diva 'whose popularity was such that over-exertion led to her death while singing,' the film is actually a grisly series of frozen or tortured tableaux (predominantly lesbian in implication) of heavily rouged, frequently ugly women who, pretending to sing heavy opera, go through contorted, icy attempts at communication that lead nowhere. The lip-sync is off; the singing is off-pitch; mouths are frequently open while no sound issues forth, or closed, with mellifluous arias or cheap popular songs heard on scratchy renditions of old records. Neither burlesque nor slapstick, the film's intent, at least in the beginning, is nevertheless ironical and subversive, though mysteriously so. However, it grows increasingly dark and more threatening, with screams, faces bathed in Vaseline, red, wet mouths, smeared eye shadows, and dehumanized figures. One cannot 'explain' Schroeter's work, other than recognize his debunking of opera as a metaphorical rejection of bourgeois society; but one trembles in recognition of a prospective major talent." 　　Amos Vogel, Film as a Subversive Art