超现实主义大师布努埃尔墨西哥时期杰作 　　一个偏远的小山村的复仇故事,及一个不甘命运摆布的男人,抗争的故事,最后,一切归于默默奔流的大河……

超现实主义大师布努埃尔墨西哥时期杰作 　　一个偏远的小山村的复仇故事,及一个不甘命运摆布的男人,抗争的故事,最后,一切归于默默奔流的大河……

这部半剧情半纪录片，记录了葡萄牙北部村庄科瓦斯·杜·巴罗索村民们反对伦敦开采公司在他们土地上开采锂矿的斗争。通过结合纪录片与虚构元素，影片生动地展现了村民们为保护家园和生活方式而进行的富有创意的抗争。这部影片不仅揭示了地方与全球化力量之间的冲突，也反映了在气候变化背景下的资源争夺战。

这部半剧情半纪录片，记录了葡萄牙北部村庄科瓦斯·杜·巴罗索村民们反对伦敦开采公司在他们土地上开采锂矿的斗争。通过结合纪录片与虚构元素，影片生动地展现了村民们为保护家园和生活方式而进行的富有创意的抗争。这部影片不仅揭示了地方与全球化力量之间的冲突，也反映了在气候变化背景下的资源争夺战。

IMDB 排名第七位的记录片(目前8.3分)。 　　这部纪录片是关于英国艺术家安迪.高兹沃斯（Andy Goldsworthy）的故事。影片一开头，安迪就直截了当的告诉我们，他想要处理的不仅是空间概念中存在的河流形象，同时也想把时间的意涵加入，让河真正在流动，反应出“河流”的本质。实际上在他的艺术作品中，“时间”可以说是是横贯一切作品的主轴，而反应自然表象下的本质则是一贯的主题，所以他处理的题材，不仅止于河流，也扩及到在时间河流（the river of time）影响下的一切。安迪习惯将自己对周遭事物，不论是人、土地或景观的了解，转化成艺术作品。从他取法自然，取材于自然，最后也回归自然的整个创作过程，确实是相当「环境正确」的，是人与环境对话之后具体而美好的呈现。虽然终究是对自然的一种操弄，却是最不「人工」的那一种。其实用文字来描述他的创作是一种不得已的错误形式，毕竟作品本身即不言自明，同时也是难以言喻的。

《2020黄河流域九省（区）迎新春文艺演出》将于2020年1月22日（腊月二十八）播出，腾格尔、霍尊、雷佳、陈思思、哈妮克孜、周晓鸥等艺人奉上精彩演出

铁军为开三轮车拉活，不得不装瘸。他送邻居谢前进去医院的路上把海城腿撞折了。海城不手术，要铁军赔五万。铁军没钱，海城跟铁军回了家，可家里逼仄无法安置海城。 　　铁军找谢前进商量，谢前进脑血栓多年生活无法自理。商议结果是二人照顾海城伤愈为止，期间海城住谢前进家，铁军管谢前进和海城一天三顿。谢前进为了一口热饭，同意了。 　　日复一日，三人之间经历了矛盾，爆发和谅解，三个男人，三个瘸子，三个月之间发生了很多故事……

In a new three-part series for BBC Two, belief, history, ecology and travelogue combine as adventurer Simon Reeve discovers stories from parts of the world that cannot be grasped without understanding the vast influence of their rivers.

In a new three-part series for BBC Two, belief, history, ecology and travelogue combine as adventurer Simon Reeve discovers stories from parts of the world that cannot be grasped without understanding the vast influence of their rivers.

Sandy Bay, Tasmania. Imogen and Audrey navigate their lives in isolation. On Plains of Larger River & Woodlands explores the natural and arcade landscape they occupy as foreboding clouds roll in on a brink of a post-apocalyptic existence. 　　Miguel de Jesus decided to move to the island of Tasmania (Tassie for the locals). He lives and works on the other side of the world (literally) and, with his latest films, has sought to reflect on the position of the foreigner and the displaced – himself, but not only. The first of his films to tackle the issue of distance (both geographical and emotional) was Ultimate Bliss (2002). Now, with On Plains Of Larger River & Woodlands, the director throws himself into the strangeness of a world that dazzles and bores. Through the testimony of two young women, we hear stories of violence (sexual, psychological, physical) accompanied by images of a certain exotic bucolicism. It is precisely there – in the tension between what is heard and what is shown – that the spark of disturbance is ignited. As one of the girls says at one point, “If I had to describe Tassie in one word, I’d use ‘mundane’. But that’s probably not true.” Between the certainty of experiences (sex, drugs, the prevalence of weapons) and the power of the imaginary ( fixated by mythological representations of the olympus), a portrait emerges of a generation tormented by the detachment of annoyance. – Ricardo Vieira Lisboa