人生の最期、あなたなら誰に、何を伝え、残しますか？或いは残さないですか？ 　　今、自分らしい最期とは何か、かつてないほどに関心が高まっています。人それぞれに「生き方」があるように、それぞれに人生の「終い方」（しまいかた）があります。そこには、その人の生き様が色濃く反映され、残された人たちの生き方にも影響を与えます。 　　番組の進行役は、落語家の桂歌丸さん（７９歳）。入退院を繰り返し、医師に止められながらも地方公演を続け、「高座の上で死ねれば本望」と言います。それは、ある人に最期に「託された」から・・・。 　　番組では、漫画家の水木しげるさんの知られざる「終い方」にも迫ります。また、「あなたならどう終いたいか？」「心に残る終い方は？」など「ラジオ深夜便」等で募集、およそ５００通が寄せられました。仕事一筋だった夫が最期に家族に伝えた言葉。幼い子を持つ若き父親が全身で遺そうとするものは、そしてそれを受け止める家族は・・・。一人一人の「終い方」に密着します。 　　ナレーションは、女優の樋口可南子さん。最期の時を、『縁起でもない』とタブー視せずに、家族や大切な人と、あるいは一人で、穏やかに考えてみませんか。

人生の最期、あなたなら誰に、何を伝え、残しますか？或いは残さないですか？ 　　今、自分らしい最期とは何か、かつてないほどに関心が高まっています。人それぞれに「生き方」があるように、それぞれに人生の「終い方」（しまいかた）があります。そこには、その人の生き様が色濃く反映され、残された人たちの生き方にも影響を与えます。 　　番組の進行役は、落語家の桂歌丸さん（７９歳）。入退院を繰り返し、医師に止められながらも地方公演を続け、「高座の上で死ねれば本望」と言います。それは、ある人に最期に「託された」から・・・。 　　番組では、漫画家の水木しげるさんの知られざる「終い方」にも迫ります。また、「あなたならどう終いたいか？」「心に残る終い方は？」など「ラジオ深夜便」等で募集、およそ５００通が寄せられました。仕事一筋だった夫が最期に家族に伝えた言葉。幼い子を持つ若き父親が全身で遺そうとするものは、そしてそれを受け止める家族は・・・。一人一人の「終い方」に密着します。 　　ナレーションは、女優の樋口可南子さん。最期の時を、『縁起でもない』とタブー視せずに、家族や大切な人と、あるいは一人で、穏やかに考えてみませんか。

Diego is 17 and is full of life, yet fragile. His best friend Antonio knows and indulges his weaknesses, but he would also like to see him strong and masculine. One night they meet Maria, a breezy natural beauty. To show that he is a "real man", Diego, is ready to do anything, even to force himself to do things he would never have wanted to do. Written by The Open Reel

Diego is 17 and is full of life, yet fragile. His best friend Antonio knows and indulges his weaknesses, but he would also like to see him strong and masculine. One night they meet Maria, a breezy natural beauty. To show that he is a "real man", Diego, is ready to do anything, even to force himself to do things he would never have wanted to do. Written by The Open Reel

While Jackie Raynal is best known as the former programmer of two of New York’s premiere art cinemas—the Carnegie Hall and the Bleecker Street—she began her career in film nearly forty years ago in Paris, where by 1964 she was the youngest film editor in France. Challenged by Zanzibar patroness Boissonnas to stop editing other people’s films and make her own, Raynal traveled to Barcelona, where she completed Deux Fois in a single week. One of the most enigmatic of the Zanzibar films, it is composed of a series of unconnected episodes, some of which are repeated. The film begins with a prologue in which Raynal (carefully made-up and fashionably dressed) is seated, head lowered and hands joined in prayer, before both her dinner and her film. While Deux Fois lays claim to the Surrealist legacy of Buñuel and Cocteau, it gained critical recognition as a pioneering work within the burgeoning feminist cinema.

While Jackie Raynal is best known as the former programmer of two of New York’s premiere art cinemas—the Carnegie Hall and the Bleecker Street—she began her career in film nearly forty years ago in Paris, where by 1964 she was the youngest film editor in France. Challenged by Zanzibar patroness Boissonnas to stop editing other people’s films and make her own, Raynal traveled to Barcelona, where she completed Deux Fois in a single week. One of the most enigmatic of the Zanzibar films, it is composed of a series of unconnected episodes, some of which are repeated. The film begins with a prologue in which Raynal (carefully made-up and fashionably dressed) is seated, head lowered and hands joined in prayer, before both her dinner and her film. While Deux Fois lays claim to the Surrealist legacy of Buñuel and Cocteau, it gained critical recognition as a pioneering work within the burgeoning feminist cinema.

如果说《想当年》是费里尼对少年时代的回忆，《八部半》是对他中年创作危机的记载，《罗马》是对他所爱的城市的礼赞，那么本片就是他对Cinecitta电影厂的颂歌。 　　影片将回忆、嘲讽、自省、幻想等元素融合在一起，让我们见识了镜头前后的各种人物。影片高潮是《甜蜜的生活》的重映把片中主角重新聚集一堂，颇有一点大师主掌央视《同一首歌》的味道。 　　第40届戛纳电影节(1987)　 40周年奖　 费德里科·费里尼 　　第13届凯撒奖(1988)　 凯撒奖-最佳外国电影(提名)　 费德里科·费里尼

如果说《想当年》是费里尼对少年时代的回忆，《八部半》是对他中年创作危机的记载，《罗马》是对他所爱的城市的礼赞，那么本片就是他对Cinecitta电影厂的颂歌。 　　影片将回忆、嘲讽、自省、幻想等元素融合在一起，让我们见识了镜头前后的各种人物。影片高潮是《甜蜜的生活》的重映把片中主角重新聚集一堂，颇有一点大师主掌央视《同一首歌》的味道。 　　第40届戛纳电影节(1987)　 40周年奖　 费德里科·费里尼 　　第13届凯撒奖(1988)　 凯撒奖-最佳外国电影(提名)　 费德里科·费里尼

A dawn to dusk account of a young man in search of a job. This is his day of an interview in a swell Indo-British firm where, logically, he has to look his best. His only suit, a complete one, is in the laundry, and as luck would have it, all city laundries are on strike from that morning. The film is an intense search for a new suit to be borrowed from any of his friends, the loss of a good one procured that way, again a frantic search, and finally the interview-all erratic blending of fictional narrative, news reel coverage and near-cinema-verity type documentation. The film ends with a strange interview between the dejected young man and an unseen spectator who has watched him since the film started. And at last the film arrives at a moment of judgment -- that of the value-world.

A dawn to dusk account of a young man in search of a job. This is his day of an interview in a swell Indo-British firm where, logically, he has to look his best. His only suit, a complete one, is in the laundry, and as luck would have it, all city laundries are on strike from that morning. The film is an intense search for a new suit to be borrowed from any of his friends, the loss of a good one procured that way, again a frantic search, and finally the interview-all erratic blending of fictional narrative, news reel coverage and near-cinema-verity type documentation. The film ends with a strange interview between the dejected young man and an unseen spectator who has watched him since the film started. And at last the film arrives at a moment of judgment -- that of the value-world.