From a topographic perspective, Ulrike Ottinger’s cinema is mostly located between Berlin and remote places in the Far East or the Far North. In Paris Calligrammes, she explores the landscape of her memories of the city that she called home for 20 years and that helped shape her beginnings as a painter and filmmaker. Ottinger moved to Paris in her twenties and immersed herself in the cultural scene of the 1950s populated by heroes of the avant-garde and a new generation of artists and intellectuals. Meandering between bookshops, concert halls, theatres, cinemas, museums and cafés, Ottinger presents her personal pantheon, and at the same time maps a decisive era both in art – as Dada and Surrealism gave way to Situationism and Pop Art – and in politics where, in-between post-war hopes, the Algerian conflict and the student movements of 1968, there was much to discuss. Nonetheless, the film maintains its intimate stance throughout, assembling a rich and emotionally charged repertoire of film clips, news reports, photos and songs with the same meticulous affection that people used to stick newspaper clippings and photos in a diary so they could write around them.

From a topographic perspective, Ulrike Ottinger’s cinema is mostly located between Berlin and remote places in the Far East or the Far North. In Paris Calligrammes, she explores the landscape of her memories of the city that she called home for 20 years and that helped shape her beginnings as a painter and filmmaker. Ottinger moved to Paris in her twenties and immersed herself in the cultural scene of the 1950s populated by heroes of the avant-garde and a new generation of artists and intellectuals. Meandering between bookshops, concert halls, theatres, cinemas, museums and cafés, Ottinger presents her personal pantheon, and at the same time maps a decisive era both in art – as Dada and Surrealism gave way to Situationism and Pop Art – and in politics where, in-between post-war hopes, the Algerian conflict and the student movements of 1968, there was much to discuss. Nonetheless, the film maintains its intimate stance throughout, assembling a rich and emotionally charged repertoire of film clips, news reports, photos and songs with the same meticulous affection that people used to stick newspaper clippings and photos in a diary so they could write around them.

本片讲述主人公空移居到去世的奶奶家时感受到的小幸福的积累。片中展示了在德岛县内随意拍摄的风景镜头。

本片讲述主人公空移居到去世的奶奶家时感受到的小幸福的积累。片中展示了在德岛县内随意拍摄的风景镜头。

1949年的开国大典阅兵仪式，秦天驾驶着战机，带队飞越天安门上空。但彼时中国航空工业尚未建立起来。西北工学院的开国大典飞行员报告大会上，秦天、江行建、张长江鼓励年轻的航空学子们要立志为新中国的航空事业贡献力量。报告厅外，被同学们称为“飞机痴”的赵德良却在操场上，试图完成他自制的1︰5缩小版“冯如号”滑翔翼的首飞。随着朝鲜战争爆发，秦天所在的中队被调往前线，参加抗美援朝。而赵德良也响应国家号召，支援东北边境战场，投入战地维修工作。伴随着抗美援朝的烽火，新中国航空工业就此诞生 。

剧集展现了中国航空工业70年的发展轨迹，以主人公秦天从英雄飞行员转变为中国第一代飞机总设计师的奋斗经历为主线，讲述了他与恩师杜清明、颜司令，与兄弟赵德良、张长江、江行健，与妻子曹慧芳，与红颜战友颜青，以及与徒弟郑国强、江战鹏、赵云飞等三代科研英雄、试飞英雄、工匠英雄及其家属们，在70年的风雨波折中，齐心协力、前赴后继，使“中国制造”的飞机在祖国蓝天翱翔的故事。

《渴望蓝天》是一个远古时代恐龙家族如何生存的故事，其间反映了恐龙间的亲情和友情，并通过森林中的历险再现了它们的勇敢和诚实精神，此片给我们展现了一幅远古时期生物的进化图卷。 这是一个波澜壮阔的恐龙世界，这是一个生命成长的伟大历程，这是一个亲情友情的永恒主题，这是一个奇异多彩的历险经历！动画片《渴望蓝天》，为你展现史前生物时代的恐龙史诗！

马苏德是一个被指控为恐怖分子的三流小偷。

马苏德是一个被指控为恐怖分子的三流小偷。

"蓝天号"战斗机经过改进，要试飞了。设计试制这种新型战斗机的某航空设计所，迎来了新的试飞员高扬和他的战友。高扬活跃好胜，热爱生活，不能容忍别人对生活的"冷漠"。刚到设计所，就和发动机总设计师方洁发生了冲突，并把方洁比作"干面包"。方洁因为五年前丈夫谢之浩在试飞"蓝天号"时不幸牺牲，她的性格才变得冷峻起来。她觉得高扬作风随便，不同意将"蓝天号"的试飞任务交给他。后来，她得知高扬一直梦想当试飞员，要把"蓝天号"送上天去，才初步改变了对他的看法。试飞前，高扬去医院复查身体，遇见了他过去的恋人陶陶。陶陶因为高扬不肯放弃飞行生涯，才与他分手的。现在她已是新来的所长刘振明的妻子。偶然相遇，使高扬一时不能自制，以致试飞时飞机偏离跑道。方洁怒斥高扬，陶陶深感内疚。深夜，陶陶把高扬偏离跑道的原因告诉了方洁。高扬得到了又一次试飞的机会。试飞前，高扬见方洁的女儿燕燕孤单，遂送她一双白鸽。第二次试飞时，飞机出了故障，高扬临危不惧，报告了飞机异常的各种数据后，就失踪了。方洁回到家看到白鸽，百感交集，不禁抱住女儿痛哭。翌晨，陶陶、刘振明一起随机四下搜索，终于在某湖面找到了昏迷的高扬。方洁来医院探望，高扬熟睡未醒。这时，上级指示：下一步试飞计划停止进行，要对"蓝天号"图纸和原设计进行全面审核。方洁在审看有关影片资料时，又看到丈夫生前的英姿，心里更加痛苦。此时，高扬悄然而至，以方洁自己的警句来激励她。方洁在困难中挺过来了。她发现自己与高扬间萌生了一种异样的感情。当方洁意识到这是一种超越同志间的情感后，极力地克制自己。在一次试飞中，方洁害怕高扬再次出事，一时软弱，致使试飞计划改变。方洁恼恨自己，高扬也前来厉言相责，方洁痛苦地晕眩倒地。方洁和女儿携鸽外出疗养，高扬写信告别：由于他的存在，妨碍了方洁，为了"蓝天号"，他决定返回部队。方洁在高扬准备离开的当夜，赶回设计所，与他在机库相见。"蓝天号"终于胜利地返回了。方洁再也抑制不住自己的感情，向高扬飞奔而去。