在莫桑比克赞比西亚的贫困乡村，一个经验丰富的社区领导者面临着建造一口重要水井的艰巨挑战。与此同时，他要面对与家人疏远的感觉，并努力控制自己日益恶化的健康状况。 　　In the poverty-stricken countryside of Zambezia, Mozambique, a seasoned community leader faces the formidable challenge of constructing a crucial water well. In the meantime, he wrestles with feelings of detachment from his family and struggles to maintain control over his deteriorating health.

在莫桑比克赞比西亚的贫困乡村，一个经验丰富的社区领导者面临着建造一口重要水井的艰巨挑战。与此同时，他要面对与家人疏远的感觉，并努力控制自己日益恶化的健康状况。 　　In the poverty-stricken countryside of Zambezia, Mozambique, a seasoned community leader faces the formidable challenge of constructing a crucial water well. In the meantime, he wrestles with feelings of detachment from his family and struggles to maintain control over his deteriorating health.

本剧作为朝日电视台建台65周年纪念作品，讲述了对桥梁建设充满热情的建筑设计师·狩山陆，遭遇了“被关押在监狱里”这样意想不到的困难，但他从未放弃，而是一直摸索着希望与再生之路。难以预料又扣人心弦的悬疑物语和惊心动魄又荡气回肠的人性故事交织在一起，谱写出一部宏大的戏剧。

本剧作为朝日电视台建台65周年纪念作品，讲述了对桥梁建设充满热情的建筑设计师·狩山陆，遭遇了“被关押在监狱里”这样意想不到的困难，但他从未放弃，而是一直摸索着希望与再生之路。难以预料又扣人心弦的悬疑物语和惊心动魄又荡气回肠的人性故事交织在一起，谱写出一部宏大的戏剧。

僕エビシー！ 　　テレビマンに憧れて、エビシTVに就職しましたが…… 　　こんなに大変なんて聞いてないです！！ 　　テレビ業界のルール、個性豊かな同僚たち、一癖も二癖もある出演者たち、 　　そして、ちょっと変わった家族…… 　　果たして僕は、一流のテレビマンになれるのでしょうか？ 　　テレビ業界の裏側と僕の奮闘＆混乱をどうか暖かく見守ってほシ～！！！

在巴黎街头的虚幻漫步中，Marie（Bulle Ogier饰）是一名因抢劫银行而被定罪的女人，她刚从监狱里出来，就遇到了需要陪伴的年轻偏执狂Baptiste（Pascale Ogier饰），两人合作了一段时间。玛丽的前男友（Pierre Clementi饰）向他们提供了一张奇怪的城市地图，这令人怀疑，因为他保留了可能与地图有某种联系的政治人物档案。一个绰号为“Max”的歹徒开始跟踪Marie和已经偏执的Baptiste，导致Marie检查地图，好像它掌握了城市的哪些侧面是“安全的”，哪些不是。当两个女人试图智胜Max和不知名的黑帮时，她们试图弄清楚地图 - 由于Baptiste倾向于剧烈刺激肾上腺素和Marie过度劳累的想象力（北桥上的一条龙是一个威胁，直到Baptiste尖叫他下来），这项任务变得更加困难。在龙和他们自己的恶魔之间，Marie和Baptiste面临着可怕的困难，无法完好无损地从这场不幸中走出来。〜Eleanor Mannikka, Rovi

在巴黎街头的虚幻漫步中，Marie（Bulle Ogier饰）是一名因抢劫银行而被定罪的女人，她刚从监狱里出来，就遇到了需要陪伴的年轻偏执狂Baptiste（Pascale Ogier饰），两人合作了一段时间。玛丽的前男友（Pierre Clementi饰）向他们提供了一张奇怪的城市地图，这令人怀疑，因为他保留了可能与地图有某种联系的政治人物档案。一个绰号为“Max”的歹徒开始跟踪Marie和已经偏执的Baptiste，导致Marie检查地图，好像它掌握了城市的哪些侧面是“安全的”，哪些不是。当两个女人试图智胜Max和不知名的黑帮时，她们试图弄清楚地图 - 由于Baptiste倾向于剧烈刺激肾上腺素和Marie过度劳累的想象力（北桥上的一条龙是一个威胁，直到Baptiste尖叫他下来），这项任务变得更加困难。在龙和他们自己的恶魔之间，Marie和Baptiste面临着可怕的困难，无法完好无损地从这场不幸中走出来。〜Eleanor Mannikka, Rovi

西班牙先锋导演Pere Portabella的代表作之一,这可不是波兰的华沙而是西班牙的"华沙"... 　　http://www.pereportabella.com/ 　　Pere Portabella (b. 1929, Barcelona) is a veteran Spanish filmmaker whose narrative features—rich in interludes, plot diversions, atmosphere, and unexpected synchronies between sight and sound—limn the avant-garde and expand the expressive potential of cinema. Portabella, who began his cinematic career as a producer of fiction films implicitly critical of General Francisco Franco, had his passport revoked when Luis Buñuel's Viridiana (1961), which he helped to make, "embarrassed" Spain at the Cannes Film Festival in 1962. When democracy returned to Spain, Portabella served as a senator in the Catalan government. However, throughout his various careers, Portabella continued to make cinema, investigating meaning in the moving image and flexing the notion of genre—particularly for horror films, fantasy films, and thrillers. 　　Warsaw Bridge. 1990. Spain. Directed by Pere Portabella. The idea for Warsaw Bridge, a less conceptual film than Accío Santos, started from a line in a newspaper: "The body of a scuba diver was found in a burnt forest." Portabella elaborates narrative fragments from this kernel in a procedure that recalls that of the French nouveau roman. Made as the Cold War was ending, the film critiques the Spanish intelligentsia's indifference to political and historical change. 　　Warsaw Bridge is dated 1989, the year of the fall of the Berlin Wall. If the predominant look in Nocturno 29 was that of the upper classes in the sixties, in Warsaw Bridge we have shining images of the new intellectuals and the amnesic, progressive, European political classes. But beneath that sparkling surface of spectacular socio-cultural events and the frivolous life in a happy Europe, lies the tension of broken memories and personal and historical cataclysms. Filmed as meticulously as contemporary commercial cinema, Warsaw Bridge shatters the plot into a thousand fragments in a European landscape broken by the return of History. It is therefore not strange that two years later Godard should be the author of a sibling film, Germany Year 90 Nine Zero, explicitly the heir to Rossellini’s Germany Year Zero in 1947 post-war Europe. 　　Regardless this film is incredible visually and emotionally. Definitely not for the fan of Hollywood films, or even independent films, or actually any film with any type of structured narrative. But if you let the film take you and suspend and expectation the reward is very worthwhile.

西班牙先锋导演Pere Portabella的代表作之一,这可不是波兰的华沙而是西班牙的"华沙"... 　　http://www.pereportabella.com/ 　　Pere Portabella (b. 1929, Barcelona) is a veteran Spanish filmmaker whose narrative features—rich in interludes, plot diversions, atmosphere, and unexpected synchronies between sight and sound—limn the avant-garde and expand the expressive potential of cinema. Portabella, who began his cinematic career as a producer of fiction films implicitly critical of General Francisco Franco, had his passport revoked when Luis Buñuel's Viridiana (1961), which he helped to make, "embarrassed" Spain at the Cannes Film Festival in 1962. When democracy returned to Spain, Portabella served as a senator in the Catalan government. However, throughout his various careers, Portabella continued to make cinema, investigating meaning in the moving image and flexing the notion of genre—particularly for horror films, fantasy films, and thrillers. 　　Warsaw Bridge. 1990. Spain. Directed by Pere Portabella. The idea for Warsaw Bridge, a less conceptual film than Accío Santos, started from a line in a newspaper: "The body of a scuba diver was found in a burnt forest." Portabella elaborates narrative fragments from this kernel in a procedure that recalls that of the French nouveau roman. Made as the Cold War was ending, the film critiques the Spanish intelligentsia's indifference to political and historical change. 　　Warsaw Bridge is dated 1989, the year of the fall of the Berlin Wall. If the predominant look in Nocturno 29 was that of the upper classes in the sixties, in Warsaw Bridge we have shining images of the new intellectuals and the amnesic, progressive, European political classes. But beneath that sparkling surface of spectacular socio-cultural events and the frivolous life in a happy Europe, lies the tension of broken memories and personal and historical cataclysms. Filmed as meticulously as contemporary commercial cinema, Warsaw Bridge shatters the plot into a thousand fragments in a European landscape broken by the return of History. It is therefore not strange that two years later Godard should be the author of a sibling film, Germany Year 90 Nine Zero, explicitly the heir to Rossellini’s Germany Year Zero in 1947 post-war Europe. 　　Regardless this film is incredible visually and emotionally. Definitely not for the fan of Hollywood films, or even independent films, or actually any film with any type of structured narrative. But if you let the film take you and suspend and expectation the reward is very worthwhile.

1944年，德军投入重兵守卫南斯拉夫境内的一座大桥，党卫军上校霍夫曼博士处心积虑防止南游击队的攻击。同一时间，游击队少校“老虎”（Velimir 'Bata' Zivojinovic 饰）接到上级命令：为阻止德军汇合，必须在七天之内找到建桥工程师将桥炸毁。老虎与老战友——爆破专家扎瓦多尼（Boris Dvornik 饰）以及他的助手班比诺、沉默寡言的战士狄希、曾参与建桥的游击队员曼纳，组成了一支行动小队。老虎从盖世太保手中救出工程师，在接近大桥的过程中与德国护卫军队发生激战，有游击队员与联络员牺牲了，但也有新的力量补充进来。在破解了德军的间谍渗入之后，游击队员们终于将大桥炸毁。