小桥、流水、人家，南通的濠河两岸住着这样一群女子：水芹娘、江家嬢嬢、风尘女子惠姑娘、女学生张家大小姐、刘家少奶奶小玉、开水西施、杂货店老板娘、铜匠嫂嫂等。这些寻常女子，来自不同的阶层，有着不同的背景和生存环境，可是战争却将她们的命运缠绕在一起。平常时候，她们互助友爱；遇险时刻，她们团结在一起同仇敌忾。她们也有过嫌隙，但在国仇家恨面前，她们又不计恩怨，一起与日寇、汉奸巧妙周旋、斗智斗勇，最后不惜牺牲自己的性命，与新四军一起摧毁了日军所筑的竹篱笆封锁线 。

小桥、流水、人家，南通的濠河两岸住着这样一群女子：水芹娘、江家嬢嬢、风尘女子惠姑娘、女学生张家大小姐、刘家少奶奶小玉、开水西施、杂货店老板娘、铜匠嫂嫂等。这些寻常女子，来自不同的阶层，有着不同的背景和生存环境，可是战争却将她们的命运缠绕在一起。平常时候，她们互助友爱；遇险时刻，她们团结在一起同仇敌忾。她们也有过嫌隙，但在国仇家恨面前，她们又不计恩怨，一起与日寇、汉奸巧妙周旋、斗智斗勇，最后不惜牺牲自己的性命，与新四军一起摧毁了日军所筑的竹篱笆封锁线 。

胡台丽《兰屿观点》73min 年代1993 中文发音 中\英字幕 彩色影片 　　作为人类学者、中研院研究员，胡台丽导演为台湾民族志纪录像片第一人，她的纪录作品也是第一部上院线作商业放映的纪录片。本片纪录兰屿雅美族人的社会价值观、宗教信仰与传统生计活动等，和外界接触后所产生的文化困惑、矛盾、调适及冲突。为胡导演代表作之一。与郭珍弟导演的《清文不在家》相互参照之下，更可观察出雅美族人（或达悟族人）长期所面临的困境，在经过十年的岁月变迁与文化冲刷之后，似乎并没有减少，只是更深刻、更内化了。

主要呈现兰屿雅美族人的社会价值观、宗教信仰与传统生计活动等，和外界接触后所产生的文化困惑、矛盾、调适及冲突。

Historically, the cinema close-up was initially employed to convey emotions through facial expressions. But soon filmmakers also began focusing their attention on hands. Using film extracts, Farocki explores this visual language, it's symbolism, Freudian slips, automatisms and its music. Often, hands betray an emotion which the face tries to dissimulate. They can also function as a conduit (exchanging money) or witness to a form of competence (work).

井坂黎（米仓凉子 饰）是一名空姐，某日，她和后辈木村纯（桐谷美玲 饰）一起逮捕了一名正在行窃的扒手，却在误打误撞之中找到了正在被全国通缉的逃犯，因此而获得了一百万元的奖金。与此同时，黎的妹妹茜（山口纱弥加 饰）欠下了巨额的高利贷之后一走了之，留下了一个还在念小学的女儿。 　　在上司的威逼利诱之下，黎辞去了空姐的工作，倾家荡产总算还清了妹妹欠下的债务，之后，黎决定寻找妹妹的踪迹，却发现自己的诉求屡屡遭到警方的拒绝和无视。一怒之下，黎决定成为一名追捕通缉犯的赏金猎人，依靠政府的奖金过活，纯亦加入了此行列，成为了黎的搭档。

Stand up comedy from the Colombian Liss Pereira, about the truths of sex, love, attraction and lies of modern relationships.

香港的亲们，我们也要一起守护！

At the time of the Polish social regime, a security officer is promoted to work at a prison yard. Introducing concurrently with the narrator; he speaks of himself, his thoughts, his point of view. He tells that he is not afraid of bandits or gangs; on the contrary he gets a kick out armed conflicts. To get a start in his new duty, he shops for a watchdog; and he buys an untrained attack dog as his companion. Then he speaks of the adjudications that the death sentence for fugitives is lacking influence. From his point of view, the judicatory tribunal must execute the fugitives in public. In the morning the next day he wears his uniform and start working with pride. 　　Whilst he is on his duty, a very harmonic music score begins to be played on the piano. The watchman spectates the peaceful life on the street. At that time we catch on that socialism is not a governmental regime; yet it's an uneducated behavior. 　　As a final scene the watchman witnesses of a cadet school's pupils being taught of the democracy. He leaves us with a confused smile. 　　A soft and likable thesis from the Polish director Kieslowski. You can find this short documentary as a special feature in his DVD of A Short Film About Killing. It could help you to compass his film language.

Between alcohol, dreams and depression, two declining actresses play out the comedy of everyday life in a flat, under the gaze of stars of yesteryear. Theatre and life mingle to the point of madness. 　　源自：https://fidmarseille.org/en/film/femmes-femmes/