九歲就進芭蕾學校的歐姍娜，一心想成為芭蕾女伶，同時報答媽媽苦心栽培她跳舞，遠離貧窮的夢想。為了跳出曼妙的舞姿，多年來永無止境的練習、嚴格的體重控制，以及犧牲與同年齡的孩子應有的自由，是芭蕾少女必經的犧牲之路。伴隨著許多挫敗、淚水、孤單，唯有不停自我激勵、要求，才能持續下去…。

九歲就進芭蕾學校的歐姍娜，一心想成為芭蕾女伶，同時報答媽媽苦心栽培她跳舞，遠離貧窮的夢想。為了跳出曼妙的舞姿，多年來永無止境的練習、嚴格的體重控制，以及犧牲與同年齡的孩子應有的自由，是芭蕾少女必經的犧牲之路。伴隨著許多挫敗、淚水、孤單，唯有不停自我激勵、要求，才能持續下去…。

阿列克塞（谢尔盖·贝泽鲁科夫 Sergei Bezrukov 饰）是一位非常有名的芭蕾舞演员，却在一次表演中身受重伤，不得不告别舞台。阿列克塞一生都将芭蕾舞表演视作是自己生命的支柱，因此这一重大变故给予了阿列克塞沉重的打击。 　　一晃眼二十年过去，阿列克塞的身体状况每况愈下，甚至很快就将会无法行走。然而，越是身陷低谷，阿列克塞就越是无法忘却对于芭蕾舞的热情。在这二十年中，阿列克塞一直都在设计一些难度非常高的芭蕾舞动作，现在，单纯的设计已经再也无法满足他了，他决定再度站上舞台，向病魔宣战。可是，阿列克塞要面对的并非生理上的痛楚这么单纯，他还要抵御周遭人的诋毁和怀疑。

阿列克塞（谢尔盖·贝泽鲁科夫 Sergei Bezrukov 饰）是一位非常有名的芭蕾舞演员，却在一次表演中身受重伤，不得不告别舞台。阿列克塞一生都将芭蕾舞表演视作是自己生命的支柱，因此这一重大变故给予了阿列克塞沉重的打击。 　　一晃眼二十年过去，阿列克塞的身体状况每况愈下，甚至很快就将会无法行走。然而，越是身陷低谷，阿列克塞就越是无法忘却对于芭蕾舞的热情。在这二十年中，阿列克塞一直都在设计一些难度非常高的芭蕾舞动作，现在，单纯的设计已经再也无法满足他了，他决定再度站上舞台，向病魔宣战。可是，阿列克塞要面对的并非生理上的痛楚这么单纯，他还要抵御周遭人的诋毁和怀疑。

In his review of Feminine Melancholy in Kinema Junpo, critic Mizumachi Seiji praises Irie's performance as the best of her talkie career. However, he is very critical of the film itself, which he sees as a typical story of a woman in an unhappy marriage. He is not sympathetic toward the heroine's patient suffering and describes the nagging mother-in-law as a "hackneyed theme." Naruse's detailed "documentation" of Hiroko's role in the household is dismissed as a "manneristic obsession," and Mizumachi suggests that the director is hiding behind "the shadow of the materials." Most severely, he criticizes Naruse for "abandoning his authority as an auteur" by resorting to "shinpa-tragedy," which is seen as a capitulation to a form that has "wielded a powerful hold over the imagination of the masses." Although Mizumachi notes that Naruse has probed into "the deepest recess of the female psyche," he doesn't recognize this as the film's achievement, perhaps because he is looking for something else from the director. His review reveals the difficulties Naruse faced in maintaining his "auteur status" while moving with the tides of popular culture. For Mizumachi, the character of Yoko is the most typical Naruse heroine, perhaps because she is dragged down by her delinquent lover; however, in retrospect, it is evident that Hiroko's tenacious survival of adverse circumstances looks forward to Naruse's postwar heroines.

In his review of Feminine Melancholy in Kinema Junpo, critic Mizumachi Seiji praises Irie's performance as the best of her talkie career. However, he is very critical of the film itself, which he sees as a typical story of a woman in an unhappy marriage. He is not sympathetic toward the heroine's patient suffering and describes the nagging mother-in-law as a "hackneyed theme." Naruse's detailed "documentation" of Hiroko's role in the household is dismissed as a "manneristic obsession," and Mizumachi suggests that the director is hiding behind "the shadow of the materials." Most severely, he criticizes Naruse for "abandoning his authority as an auteur" by resorting to "shinpa-tragedy," which is seen as a capitulation to a form that has "wielded a powerful hold over the imagination of the masses." Although Mizumachi notes that Naruse has probed into "the deepest recess of the female psyche," he doesn't recognize this as the film's achievement, perhaps because he is looking for something else from the director. His review reveals the difficulties Naruse faced in maintaining his "auteur status" while moving with the tides of popular culture. For Mizumachi, the character of Yoko is the most typical Naruse heroine, perhaps because she is dragged down by her delinquent lover; however, in retrospect, it is evident that Hiroko's tenacious survival of adverse circumstances looks forward to Naruse's postwar heroines.

"The film follows the rehearsals and performances of seven ballets: Genus by Wayne McGregor, Medea by Angelin Preljocaj, The House of Bernarda Alba by Mats Ek, Paquita by Pierre Lacotte, The Nutcracker by Rudolph Nureyev, Orpheus and Eurydice by Pina Bausch, and Romeo and Juliet by Sasha Waltz. The film shows the work involved in administering the company and the coordinated and collaborative work of choreographers, ballet masters, dancers, musicians, and costume, set, and lighting designers"--Container. 　　Running time for disc 1: 85 min.; disc 2 running time: 73 min.

"The film follows the rehearsals and performances of seven ballets: Genus by Wayne McGregor, Medea by Angelin Preljocaj, The House of Bernarda Alba by Mats Ek, Paquita by Pierre Lacotte, The Nutcracker by Rudolph Nureyev, Orpheus and Eurydice by Pina Bausch, and Romeo and Juliet by Sasha Waltz. The film shows the work involved in administering the company and the coordinated and collaborative work of choreographers, ballet masters, dancers, musicians, and costume, set, and lighting designers"--Container. 　　Running time for disc 1: 85 min.; disc 2 running time: 73 min.

35岁的芭蕾舞演员欧阳婕突然遭遇舞团裁员，家庭中也发生重大变故。陷入绝境的她在偶然的机会下，到云南的古茶树林中寻找新的启发。

35岁的芭蕾舞演员欧阳婕突然遭遇舞团裁员，家庭中也发生重大变故。陷入绝境的她在偶然的机会下，到云南的古茶树林中寻找新的启发。