1979年霍梅尼在伊朗掌权是现代激进伊斯兰的第一次重大胜利。在这部三集纪录片中，当年的一些关键人物会向您讲述这其中的故事。 　　美国前总统卡特第一次在电视面前讲述那次使其在选举中失去总统职位的事件。伊朗扣押了在德黑兰的美国大使馆人员，这总共的444天一点一点的夺去了卡特的时间和能量。卡特总统的最后任期被绝望的试图营救人质计划所笼罩。那些和他一起在白宫中试图营救人质，如何谈判，最终怀疑自己能否救回人质的人们，他们都讲述了自己在其中的故事。其他参与者包括前副总统沃尔特·蒙代尔，前副国务卿克里斯多夫以及前国家安全顾问兹比格涅夫·布热津斯基。 　　另一面的故事由伊朗高层讲述：霍梅尼的顾问，大阿亚图拉蒙塔泽里；他的第一位外交部长，亚兹迪；其美国谈判代表，萨迪克·塔巴塔巴伊；伊朗革命卫队创立者之一，穆赫辛。

1979年霍梅尼在伊朗掌权是现代激进伊斯兰的第一次重大胜利。在这部三集纪录片中，当年的一些关键人物会向您讲述这其中的故事。 　　美国前总统卡特第一次在电视面前讲述那次使其在选举中失去总统职位的事件。伊朗扣押了在德黑兰的美国大使馆人员，这总共的444天一点一点的夺去了卡特的时间和能量。卡特总统的最后任期被绝望的试图营救人质计划所笼罩。那些和他一起在白宫中试图营救人质，如何谈判，最终怀疑自己能否救回人质的人们，他们都讲述了自己在其中的故事。其他参与者包括前副总统沃尔特·蒙代尔，前副国务卿克里斯多夫以及前国家安全顾问兹比格涅夫·布热津斯基。 　　另一面的故事由伊朗高层讲述：霍梅尼的顾问，大阿亚图拉蒙塔泽里；他的第一位外交部长，亚兹迪；其美国谈判代表，萨迪克·塔巴塔巴伊；伊朗革命卫队创立者之一，穆赫辛。

艺术家遇到安娜，以为是曾经的模特，后发现是安娜的生命来自自己的作品，艺术家想收回模特生死的权利，最终连同自己的生死一同败给了神灵。

艺术家遇到安娜，以为是曾经的模特，后发现是安娜的生命来自自己的作品，艺术家想收回模特生死的权利，最终连同自己的生死一同败给了神灵。

We are in East Berlin, 1978. It’s summer, three years after Wassilly’s death. Nelly’s boyfriend and Alexei’s father died in a car accident in Russia. Since he is dead, Nelly wants to leave too. Away from the GDR, to leave the grief and the memories behind. To get a fresh start. That should be possible in the West, or so Nelly believes.

We are in East Berlin, 1978. It’s summer, three years after Wassilly’s death. Nelly’s boyfriend and Alexei’s father died in a car accident in Russia. Since he is dead, Nelly wants to leave too. Away from the GDR, to leave the grief and the memories behind. To get a fresh start. That should be possible in the West, or so Nelly believes.

《古典宝宝》是一部令人愉快的动画节目，包含了一系列的短片，每一个短片都以精美的画作为特色，配合着轻松活泼的音乐和动画效果，将艺术作品栩栩如生地呈现在孩子们的眼前。

《古典宝宝》是一部令人愉快的动画节目，包含了一系列的短片，每一个短片都以精美的画作为特色，配合着轻松活泼的音乐和动画效果，将艺术作品栩栩如生地呈现在孩子们的眼前。

What are a few references among friends? But for Cal and his circle, it’s hardly a few. They barely conduct a single conversation that doesn’t revolve around architecture, literature, theology, history. Each set of ideas leads seamlessly into the next, until the flow they form is endless, there are always more footnotes, theoretical perspectives, cantos, translations to cite, so many ways of keeping everyday life at bay. When Cal, Evelyn, Chris et al. exchange all this absurdly specific knowledge, they do so with such earnest relentlessness that it’s hard to suppress a smile, although melancholy is never far away. Cal is frequently by himself, turning pages in silence in shadowy rooms, while Evelyn paces the streets of Philadelphia when she can’t sleep, at night, alone. Even when the group gets together, they often remain apart in the frame with no wider shot to connect them, one face holds forth, another stays silent, are they even in the same place at all? Evelyn wishes it were possible to speak more directly, but perhaps that’s the defining feature of the period, not the classical one, this one. You speak, you listen, there’s nothing in between.

What are a few references among friends? But for Cal and his circle, it’s hardly a few. They barely conduct a single conversation that doesn’t revolve around architecture, literature, theology, history. Each set of ideas leads seamlessly into the next, until the flow they form is endless, there are always more footnotes, theoretical perspectives, cantos, translations to cite, so many ways of keeping everyday life at bay. When Cal, Evelyn, Chris et al. exchange all this absurdly specific knowledge, they do so with such earnest relentlessness that it’s hard to suppress a smile, although melancholy is never far away. Cal is frequently by himself, turning pages in silence in shadowy rooms, while Evelyn paces the streets of Philadelphia when she can’t sleep, at night, alone. Even when the group gets together, they often remain apart in the frame with no wider shot to connect them, one face holds forth, another stays silent, are they even in the same place at all? Evelyn wishes it were possible to speak more directly, but perhaps that’s the defining feature of the period, not the classical one, this one. You speak, you listen, there’s nothing in between.