秀莲喝下鸡汤之时察觉异样，识破汤中暗藏剧毒。顺藤摸瓜追查之下，查出下毒之人竟是三姨勾结石头二叔。尘封二十年前的旧案随之浮出水面，埋藏多年的恩怨纠葛缓缓揭开。过往的误会、算计与委屈一一摊开，众人厘清是非对错，放下心中积怨。风波彻底平息，所有隔阂尽数消散，历经重重磨难的一家人，终于卸下满心猜忌，迎来平静安稳的寻常日子。

讲述上世纪80年代红星机械厂中，赵淑芬一家因性格老实本分而长期遭受欺压，生活困苦压抑。单身母亲陈娟的到来打破僵局，她泼辣果敢的作风为赵家带来反抗的勇气。两家人逐渐走近，在陈娟影响下，赵淑芬开始尝试在小事上挺直腰杆。

本故事以赵淑芬一家在红星机械厂的困苦生活为起点。因性格老实，赵家长期遭受车间主任王胜利和后勤孙芬的欺压，生活憋屈，看不到希望。\n转机随着单身母亲陈娟的到来而出现。她泼辣敢为的作风，不仅为自己赢得尊重，更逐渐影响了逆来顺受的赵家。在陈娟的带动和鼓励下，赵淑芬开始尝试反抗不公，家庭氛围悄然变化。

姐妹俩由于意外重生八零年代，心机妹妹嫉妒姐姐上辈子嫁给潜力股，而自己嫁的人却英年早逝，为了过上富贵日子，她醒来的第一件事就是换亲。剧集以姐妹俩的命运博弈为主线，穿插夫妻撒糖与家庭交锋，既展现了善恶有报的朴素真理，也刻画了女性在困境中的觉醒与成长，演绎一场打破宿命的温暖逆袭。。。

康独自一人住在大房子里，Non住在镇上的一间小公寓里。 他们见面，然后分开，他们的日子像往常一样流逝。

片长51分钟，只是记录了冬天四川达州农村，一对老夫妻家长里短的生活。 村里的年轻人都外出打工，这个村的人大都是到广东鲘门去打渔…… 2011年制作，法国剪辑。

Claudio, 35 years old, manager, has been HIV+ for ten years. His life is marked by the medicine he has to take, his monthly medical examination, his humdrum job, and his long-term relationship with Dario. But when he meets Andrea, a sweet and handsome waiter, his certainties shatter.

克劳迪奥，35岁，经理，已经感染艾滋病的十年。他的一生是由他吃药，他每月的体检，他单调的工作，以及他与达里奥长期合作关系显着。但是，当他遇到安德烈，甜美帅气的服务生，他的确定性粉碎。

While working on a film called Cinematic Letters, IFFR stalwart Peter Schreiner was diagnosed with cancer. Although the project was terminated for being logistically too demanding, his desire to make a new film remained. But what can you do when your beloved camera and tripod have become too heavy for you to carry, and setting up even a simple scene is an exhausting ordeal? Tage is not a memoir of Schreiner's battle with his illness – this is merely hinted at, almost obliquely. Schreiner considered his ailing body above all an artistic challenge: What is possible, what can be developed from the set of options and perspectives such a state of being offers? Curiously enough, Tage turned into a variation of his last finished film, Garten (2019): a chamber piece shot almost exclusively in his house, featuring himself and his beloved wife Maria as well as some friends. It is also a return to a cinema of intimacy that he'd last essayed with Kinderfilm (1985). With all of that, Schreiner strove for and reached yet another level of artistic freedom with Tage, for none of his works to date are as light-footed in their movement: pure stream-of-conscious in a diaristic framework – a film as open as Schreiner's restlessly searching soul and endlessly curious heart. 源自：https://iffr.com/en/iffr/2023/films/tage

While her husband is away, Nina sets out to combat boredom. The wealthy woman visits an elderly aunt and frequents the stores and boutiques of downtown Belgrade. She spends the day with a handsome stranger who is obviously enamored with Nina, but the two separate at the end of their memorable day when she tells him she is married. One day of married woman, who did not succeed to determine her place in life. She gets in series of characteristic situations which are discovering her life and faith. Her life is a reflection of her personal solitude. She meets a young man, who has just received a note that his father is dying. They spend one afternoon together, trying to give new shape and sense to picture of life. Yugoslavian director Aleksandar Petrovic was one of his country's most prominent filmmakers during the 1960s. His best-known films are Tri (Three), which earned the highest award at the Karlovy Vary Film Festival in 1965, and Skupljaci Perja (I Even Met Some Happy Gypsies), which won the Grand Prix at Cannes in 1967. Petrovic got his start as a film critic following graduation from Belgrade University. His writings on cinema made him one of Yugoslavia's most respected film critics during the '50s. He then directed a few documentaries. Petrovic made his feature-film directorial debut with Dvoje (When Love Is Gone) (1961). This and his subsequent film, Dani (Days) (1963), were heavily influenced by French New Wave and heralded the dawning of the "Black Wave" in Yugoslavian cinema. Following the success of Skupljaci Perja, Petrovic began having difficulty with his government. It began when governmental officials took offense with his adaptation of Bulgakov's novel Majstor i Margarita (The Master and Margarita) (1972), calling the film a direct assault against communism. In 1973, Petrovic was forced to leave his post at the Belgrad Film Academy because of the scandal surrounding the film Plastic Jesus, which was made by his protégé, Lazar Stojanovic. Though he would continue on to make two more films, one of them in France, Petrovic's promising career was over.