通过采访以色列音乐天才Daniel Barenboim ，美国语言学家和语言哲学家Noam Chomsky，黎巴嫩作家，社会活动家Elias Khoury ，探讨了美裔巴勒斯坦知识份子萨义德的精神遗产。

通过采访以色列音乐天才Daniel Barenboim ，美国语言学家和语言哲学家Noam Chomsky，黎巴嫩作家，社会活动家Elias Khoury ，探讨了美裔巴勒斯坦知识份子萨义德的精神遗产。

A must see, this documentary (not be confused with the much longer and comprehensive 2004 biopic) brings us Saïd's last days, prior to his untimely death in 2003. 　　In a twist of fate, a French crew armed with a Betamax recorder spent time with him and his family at the end of his life, offering us an exceptionally intimate look at his (literally) final views and reflections on the themes which dominated his life's work. 　　Based on the ratings and number of votes I saw on this site for the 2004 documentary, I think many users voted for that film, though meaning to judge and actually having seen this one, which continues to have more exposure in the Americas, in the Third World, and most importantly politics aside (as much as that's possible). Both films deserve the excellent rating they boast. Your rating really depends on your interest and attention span. 　　However, this film, at a captivating 54 minutes and with its unique timing has a touch of reality and conciseness that the other one lacks, by mere timeliness and authenticity. This film directed by Emmanuel Hamon has also enjoyed the personal and forceful promotion by him himself, the director, and by the Institute of Arab Culture, throughout Brazil, at least, where I have now accompanied its showing at, two or three more festivals here in less than 9 months. 　　And, NOT just at another Arab Film Festival, or a usual semi annual showing of national performing arts, but a full fledge Mediterranean Festival of dance, music, theater, literature, gastronomy, fashion, children's activities, etc. at over 60 cities and towns in Southeastern Brazil alone. 　　The Israeli Festival, coincidentally, also with excellent films, in much richer if not opulent venues, with Rubin Mehta and Israel Orchestra's, just as a by-the-way factoid, just ended days ago. It was however mostly funded by Jewish and Israeli group, while this one is funded primarily by the Business and Educational Council. The timing was not planned to compete with each other. 　　The various "Mediterranean" groups were on tour throughout the area just now. The "Jewish week" is always around this time, and wa1s planned for months. 　　Yes, Sao Paulo (city) alone is a metropolis of 20 million alone - the state has 40 million, with one of the heaviest and maybe the best succeeded Arab & Syriain-Lebanese immigrant communities anywhere in the world. But, it's almost totally Christian. In fact (though not totally open said), the Arab community here is more in tune with mainstream Israeli politics, than the Orthodox Jews we have here, since they are Arabs, but Christians, and very Orthodox at that, in the best known cases. 　　The Syria, Palestine and Lebanon left behind, and still revered here as the "old land" no longer exists, as these Arab-Brazilians came here to avoid Turkish Ottoman (Muslim) persecution, which ultimately prevailed. 　　But, not insisting so much on local ethnicities and returning to this film, I mist say that in few if any places in the world, can a film like this and others in the Films Section be seen and judged as an Arab film, and not as Muslim culture vs. the Judeo-Christian world Work. 　　And this is truly a film of universal understanding, with national and religious prejudices taking a back seat here. Don't miss it.

A must see, this documentary (not be confused with the much longer and comprehensive 2004 biopic) brings us Saïd's last days, prior to his untimely death in 2003. 　　In a twist of fate, a French crew armed with a Betamax recorder spent time with him and his family at the end of his life, offering us an exceptionally intimate look at his (literally) final views and reflections on the themes which dominated his life's work. 　　Based on the ratings and number of votes I saw on this site for the 2004 documentary, I think many users voted for that film, though meaning to judge and actually having seen this one, which continues to have more exposure in the Americas, in the Third World, and most importantly politics aside (as much as that's possible). Both films deserve the excellent rating they boast. Your rating really depends on your interest and attention span. 　　However, this film, at a captivating 54 minutes and with its unique timing has a touch of reality and conciseness that the other one lacks, by mere timeliness and authenticity. This film directed by Emmanuel Hamon has also enjoyed the personal and forceful promotion by him himself, the director, and by the Institute of Arab Culture, throughout Brazil, at least, where I have now accompanied its showing at, two or three more festivals here in less than 9 months. 　　And, NOT just at another Arab Film Festival, or a usual semi annual showing of national performing arts, but a full fledge Mediterranean Festival of dance, music, theater, literature, gastronomy, fashion, children's activities, etc. at over 60 cities and towns in Southeastern Brazil alone. 　　The Israeli Festival, coincidentally, also with excellent films, in much richer if not opulent venues, with Rubin Mehta and Israel Orchestra's, just as a by-the-way factoid, just ended days ago. It was however mostly funded by Jewish and Israeli group, while this one is funded primarily by the Business and Educational Council. The timing was not planned to compete with each other. 　　The various "Mediterranean" groups were on tour throughout the area just now. The "Jewish week" is always around this time, and wa1s planned for months. 　　Yes, Sao Paulo (city) alone is a metropolis of 20 million alone - the state has 40 million, with one of the heaviest and maybe the best succeeded Arab & Syriain-Lebanese immigrant communities anywhere in the world. But, it's almost totally Christian. In fact (though not totally open said), the Arab community here is more in tune with mainstream Israeli politics, than the Orthodox Jews we have here, since they are Arabs, but Christians, and very Orthodox at that, in the best known cases. 　　The Syria, Palestine and Lebanon left behind, and still revered here as the "old land" no longer exists, as these Arab-Brazilians came here to avoid Turkish Ottoman (Muslim) persecution, which ultimately prevailed. 　　But, not insisting so much on local ethnicities and returning to this film, I mist say that in few if any places in the world, can a film like this and others in the Films Section be seen and judged as an Arab film, and not as Muslim culture vs. the Judeo-Christian world Work. 　　And this is truly a film of universal understanding, with national and religious prejudices taking a back seat here. Don't miss it.

讲述了被打入凡间的吕洞宾坐船东渡去找白瑛退婚，到达白家后发现白瑛父亲在百花楼失踪，于是前往百花楼，遇见了被傀儡化的白瑛，并遭到黑蛟手下的袭击。从百花楼逃脱后，吕洞宾遇到太白金星，得知自己是白鹤上仙转世，前世今生黑蛟都是书生必须经历的劫难，与白瑛（白牡丹）也有三生三世的情缘……

讲述了被打入凡间的吕洞宾坐船东渡去找白瑛退婚，到达白家后发现白瑛父亲在百花楼失踪，于是前往百花楼，遇见了被傀儡化的白瑛，并遭到黑蛟手下的袭击。从百花楼逃脱后，吕洞宾遇到太白金星，得知自己是白鹤上仙转世，前世今生黑蛟都是书生必须经历的劫难，与白瑛（白牡丹）也有三生三世的情缘……

守护人界的彼岸花灵力耗尽，急需注入新花魂，寒林君趁机帮蜮兽攻入人界，大劫在即。江尘与青鸾寻找花魂，共历生死，逐渐相爱，却发现江尘竟就是花魂。江尘杀身成仁，令彼岸花重开。战胜邪恶后，青鸾日夜守护彼岸花。

该剧改编自星零的小说《帝皇书》。 　　相传韩帝两家共创大靖，然而十年前，帝家因谋逆获罪，仅余下一名孤女被囚玳山。十年后，一心救下帝家孤女的太子韩烨（龚俊 饰），在前往帝家故里靖南剿灭海贼时，竟遇上一个口口声声非他不嫁的娇俏水匪。女水匪自称任安乐（迪丽热巴 饰），她拿出三万水师，登临京师求聘太子，却又在死缠烂打韩烨的过程中，展现出了过人的才智。只有暗中协助任安乐的刑部尚书洛铭西知道，她就是帝家孤女帝梓元，此来正是为了家族翻案。任安乐连破科举舞弊案、江南水灾案，还与镇边公主安宁打得火热。而韩烨也因两人家国立场的一致，对她心生好感，但此时，任安乐的替身，假帝梓元也回到京城，奉旨参选太子妃，本就阴谋遍布的宫廷，因此陷入了更大的旋涡之中。