A rocker makes a pact to kill himself on his 37th birthday. 12 weeks before the release of his final album and the end of his life, he meets and falls in love with a woman who has a dark secret of her own.

In an interview with Hans Scheugl about the ideas and techniques behind some of his films, the film-maker Kurt Kren told the following anecdote, which sheds an interesting light on his work. For his film Tree again (1978), Kren used a highly sensitive infra-red color film, a type which usually has to be developed within a very short period of time. However, Kren who has always worked on a very small budget, only had a roll of film which was already five years past its expiry date and, as Kren says, "there was little likelihood of anything turning out on the film." But he still decided to take shots of a large and splendid tree surrounded by bushes and a stretch of pastureland over a period of several weeks, from summer to autumn - a series of individual pictures taken from the same camera position. As he says, "I didn´t have much hope - (I knew) it was a crazy thing to do." But Kren´s illogical hope and his unshakeable confidence in his material were rewarded. Tree again became one of Kren´s most beautiful works - although it is difficult to single out any individual work from a corpus of extraordinary density and variety which spans over thirty years and includes over 40 films. The tree, the field, the sky, in fact the entire picture radiates an unusual, almost eerie artistry, with its rapidly changing blue, green and reddish hues, sometimes brightly illuminated for the fraction of a second like the flash of lightening in a technicolor horror film. Or a sky of deep blue with clouds scudding across it, an airplane drawing condensation trails which fade away imperceptibly, the abrupt juxtaposition of sun and shadow and the strong, gusty movement of the wind amongst branches and leaves, as though an endless and destructive storm were at work. An apocalyptic picture, yet one that is full of a wonderful, quiet beauty - the changing of the sun, and the play of light, how autumn arrives in a matter of seconds and the leaves begin to fall, the shadows of grazing animals which appear and disappear in the blink of an eye.

In an interview with Hans Scheugl about the ideas and techniques behind some of his films, the film-maker Kurt Kren told the following anecdote, which sheds an interesting light on his work. For his film Tree again (1978), Kren used a highly sensitive infra-red color film, a type which usually has to be developed within a very short period of time. However, Kren who has always worked on a very small budget, only had a roll of film which was already five years past its expiry date and, as Kren says, "there was little likelihood of anything turning out on the film." But he still decided to take shots of a large and splendid tree surrounded by bushes and a stretch of pastureland over a period of several weeks, from summer to autumn - a series of individual pictures taken from the same camera position. As he says, "I didn´t have much hope - (I knew) it was a crazy thing to do." But Kren´s illogical hope and his unshakeable confidence in his material were rewarded. Tree again became one of Kren´s most beautiful works - although it is difficult to single out any individual work from a corpus of extraordinary density and variety which spans over thirty years and includes over 40 films. The tree, the field, the sky, in fact the entire picture radiates an unusual, almost eerie artistry, with its rapidly changing blue, green and reddish hues, sometimes brightly illuminated for the fraction of a second like the flash of lightening in a technicolor horror film. Or a sky of deep blue with clouds scudding across it, an airplane drawing condensation trails which fade away imperceptibly, the abrupt juxtaposition of sun and shadow and the strong, gusty movement of the wind amongst branches and leaves, as though an endless and destructive storm were at work. An apocalyptic picture, yet one that is full of a wonderful, quiet beauty - the changing of the sun, and the play of light, how autumn arrives in a matter of seconds and the leaves begin to fall, the shadows of grazing animals which appear and disappear in the blink of an eye.

Antonina, an artist from Saint Petersburg, follows her husband, a political prisoner, to the deep north province of Russia. As she starts teaching art in a local school, she finds herself opposed by a twelve-year-old boy, Misha, whose brother is a feared local gang leader.

《花儿绽放·乡村季》是湖南卫视、芒果TV推出的中国乡村女性励志竞技综艺，该节目以新时代乡村女性的视角，讲好“全面推进乡村振兴”的中国故事，为乡村女性搭建一个舞台，见证“乡村巾帼”鲜活热烈的力量，绽放她们的技能，陪伴她们的成长，为家乡而战。村的故事，从花开始，花的故事也塑造着村的未来。

中国乡村女性励志竞技综艺积极探索“女性典型宣传+乡村振兴+文化旅游”创新融合的年度重点项目。节目将以新时代乡村女性的视角，展现乡村鲜活热烈的巾帼力量，讲好“全面推进乡村振兴”的中国故事。 　　节目将聚焦农村、农人、农事，多维度立体展现新时代特色乡村和乡村女性风貌，主打真实、真诚、真情，让农村女性唱主角。 　　经过大理喜洲、南京佘村、长沙县金井镇三站，节目最终集结了36位乡村花儿，通过村飨、村秀、村赛、村集、村晚等五次“村潮大企划”及一场盛典，选出6位花儿组成的大花团，为美丽乡村代言。

二十世纪的超现实主义艺术原来另有先驱，早在数百年以前已有传奇荷兰画家Bosch，其影响力极大，连超现实主义大师达利都要以「新Bosch」自诩。 Bosch的作品风格怪异而瑰丽，他笔下的世界充满形形色色的奇珍异兽，处处流露强烈的象征意味，深切洞察人性的欲望及恐惧。 　　Bosch现存的油画画作仅25幅，包括他的旷世巨作《人间乐园》、《七宗罪》等；虽然作品不多，奇思妙想却无远弗届，上至天堂，下至地狱，甚至穿越时空，启发无数当代的艺术家。 　　Bosch偶尔才会为作品签名，但不写明作画日期，加上他有自己的作画工房，所以多年来研究艺术的专家百思不得其解：有多少作品出自他本人之手？有多少是他死后由工房「幽灵」代笔？法国罗浮宫、西班牙普拉多博物馆等的大师珍藏会不会混入几幅小工匠之作？ 　　《Bosch：地狱图绘》跟随研究团队到荷兰、法国、美国、西班牙，集合硕果仅存的Bosch出品，由数算画框木材的年轮到红外线透视，将作品层层剖析，由现在重塑过去，透过画家的观点，从地狱中窥见点点天堂。

二十世纪的超现实主义艺术原来另有先驱，早在数百年以前已有传奇荷兰画家Bosch，其影响力极大，连超现实主义大师达利都要以「新Bosch」自诩。 Bosch的作品风格怪异而瑰丽，他笔下的世界充满形形色色的奇珍异兽，处处流露强烈的象征意味，深切洞察人性的欲望及恐惧。 　　Bosch现存的油画画作仅25幅，包括他的旷世巨作《人间乐园》、《七宗罪》等；虽然作品不多，奇思妙想却无远弗届，上至天堂，下至地狱，甚至穿越时空，启发无数当代的艺术家。 　　Bosch偶尔才会为作品签名，但不写明作画日期，加上他有自己的作画工房，所以多年来研究艺术的专家百思不得其解：有多少作品出自他本人之手？有多少是他死后由工房「幽灵」代笔？法国罗浮宫、西班牙普拉多博物馆等的大师珍藏会不会混入几幅小工匠之作？ 　　《Bosch：地狱图绘》跟随研究团队到荷兰、法国、美国、西班牙，集合硕果仅存的Bosch出品，由数算画框木材的年轮到红外线透视，将作品层层剖析，由现在重塑过去，透过画家的观点，从地狱中窥见点点天堂。

1960年代初。一艘苏联游轮驶入法国港口。三人上岸，进入一家小饭馆。已经年迈的谢苗·沃斯特里科夫向他的年轻同伴讲述了他参与1917年革命事件的故事。