60 岁华侨周振邦，身为美食家，为完成母亲遗愿，盛夏身着考究西装，怀揣写有 “妹刘桂兰” 地址的泛黄纸条与母亲旧照，来到陌生的滨州寻亲。母亲生前眷恋故乡，遗憾未归乡团聚、再尝家乡菜。可滨州今非昔比，旧地址消失，他多方打听无果，疲惫怅惘。陌生的饮食、方言也让他倍感疏离。

Ⅰ. "Sleepy" On the way home from work, the fierce anger of the road rage transformed into a huge monster, devouring the roads and buildings. Hurry home. Ⅱ. "Forgotten" Forget. Here. There. Everything. People, like ants, circulate endlessly.

中国武术以她的源远流长、博大精深，堪称是中国传统文化的精髓，被称之为国宝，让世人羡慕。渐起人气的《体育人间》栏目的编导们无不揣摩该题材纪录片的创作。2001年初，由赵邈、赵聪兄弟俩扛起摄像机，开始了以描述当今武术人生活状况的20集纪录片《今风细语江湖》的漫长创作旅程，500个日日夜夜的创作时间里，他们经历了早起4时在北疆拍日出，更有露宿古刹名寺的悬弘之夜。相继走遍了40多个省市地区，与50多个武术基层组织及习武者，对他们进行了采访、畅谈、跟拍、偷拍等制作方式和手段，面对浩如烟海的古今武术文化，在以武打为主题的电影电视剧狂轰烂炸电视屏幕的今天，针对无数个传说、戏说，该片编导们潜心研究、认真选择，最终选择了以真人实事为节目的主要脉路，以真实为原则，采用不停机、不剪切等方式全景纪录揭示武术搏击的真实过程，为电视机前的广大武术爱好者打造了一出真实生动的武术大片。 <BR><BR>　　《初篇》是本片的概述，为我们打开了20集武术纪录片的帷幕，我们从中可以俯视全片主要内容和立意，从更高更全面的角度为我们拉开了本片主要人物的一角，使我们能够在欣赏片子的同时，感受武术与中国传统文化的内在关系

住在偏远山村的少女暖水灵俏皮、清纯美丽，是青年男子们倾慕的对象，对于和暖青梅竹马的林井和来说更不例外。外面的世界五彩缤纷，暖一心等待偶然驻留于此的戏班英俊武生带她离开这个山村，然而等待她的只有失望。在和井河荡秋千的时候，暖摔伤了腿，不久后井河也离开家乡，两人从此失去联系。十年后，井河从北京回到家乡，见到了阔别已久的暖。此时的暖跛着腿，形容枯槁，已经嫁给村中的哑巴。一种别样的情感袭上心头。

夏末年初，林井河回到阔别10年的家乡，在桥头偶遇初恋情人暖。暖看到久未谋面的林井河，态度非常平静，令林井河产生一种莫名的刺痛感，决定推迟回北京的日期，再多住几天。十年前，暖是个能歌善舞的漂亮姑娘，被包括林井河在内的许多年轻人所喜欢，只有放鸭子的哑巴常与暖过不去。省剧团下乡演出，暖爱上了剧团里的小武生，临分手时，小武生承诺一定会来接暖，大家并不相信，但暖却相信小武生会回来接她，一直苦苦等了两年。林井河看到暖的苦闷也非常难受，想方设法安慰她，劝她专心读书，考上大学，离开这里。因为一次意外，暖失去了远走高飞的机会。林井河考上了大学，并在临走前告诉暖毕业后一定回来接她。但是，十年时间，林井河再没有出现，曾经痴痴等待并坚信林井河会来接自己的暖嫁给了哑巴，女儿也已经长到6岁。林井河来到暖的家中，心情感到格外伤感，现实已经无法改变，井河心中只有深深的歉疚……

职场精英宋小暖与学生时代的恋人言楚行分手三年后再次相遇，二人余情未了，解除了当年的误会，重新相爱。该短剧改编自：番茄小说《遇见你，余生甜又暖》，作者【沐六六】

罗鹏在送外卖的过程中，遭遇了一系列不幸，包括撞破上司与未婚妻的私情，以及被上司羞辱并丢掉工作。然而，他的外卖箱却意外成为了连接现代与古代的时空之门。罗鹏通过外卖箱向古代输送现代物资，帮助了古代的女将军木兰解决了一系列危机，包括干旱和匈奴的入侵

一个女人，和原本的恋人（是个西班牙佛朗哥政权时代的反对青年 受到迫害）约好逃往法国，却意外没有成功，女人却因为在逃亡路上遇到调音师而和调音师结了婚；三年后，这个青年出现在女人家里，女人把他安排住在家里的地下室，这个浪漫主义者（青年对女人是一见钟情，起始与女人在聚会上随手弹起的一段曲子）于是在这个地下室一直住下，直到老去

2024 en banlieue parisienne : Suzanne, grand-mère addict à la technologie, ne parvient pas à se remettre de la mort de son mari Edouard. Un jour elle télécharge l’appli “Au jour d’aujourd’hui” qui permet de “retrouver vos êtres chers.” Edouard revient, mais n’est plus tout à fait le même.

Perhaps the most enjoyable Oliveira film I've watched so far also proved to be the most frustrating experience (through no fault of the genial Portuguese director, whom I saw at the 2004 Venice Film Festival): unfortunately, the copy shown on late-night Italian TV was of an atrocious quality – with intermittent picture loss, rampant pixellation and considerable stretches where the dialogue was so low and muffled as to be barely audible (thankfully, the movie was presented in its original language accompanied by Italian subtitles), despite the volume of my TV being practically set at its maximum level! The irony is that this was scheduled again on the very same channel just the other week and, had I known of the poor state of my copy, I'd have tried to record it again…though, of course, I would've had no guarantee that they were able get hold of a superior print unless I went through the whole thing over again! 　　Anyway, having seen it, I'm now able to understand how Oliveira felt so completely at home making that Bunuelian tribute BELLE TOUJOURS (2006); in fact, this has much the same aura of elegant surrealism evident in the Spaniard's contemporaneous masterpiece THE DISCREET CHARM OF THE BOURGEOISIE (1972), while throughout Oliveira displays an admirably Ophulsian propensity for intricately mobile camera-work. The premise is original and quite delightful: a woman has lost a husband and remarried; she used to despise the former but, now, she realizes how much she actually loved him and, consequently, starts to neglect Spouse No. 2. Also, the first husband had an identical twin brother – so the wife feels closer to him than her current husband; the latter, humiliated by this awkward situation, commits suicide! Then, the sibling of the deceased confesses that he's actually the man she married and that it was his twin who had died (he just had the inexplicable urge to exchange identities with him!); so, the ex-bride and groom go to court to make their re-union legal…except that, by this time, it dawns on her that Husband No. 2 is the one she truly loves! 　　Amid all this, their close circle of friends try to make head or tails of the woman's whims and quirks; further complications, however, arise out of the subplot involving a man who makes passes at two of the women (one's married, the other happily cohabiting with her divorced ex!). The latter turns him down flat, while his affair with the former proves no less volatile than the leading lady's roundabout ways; the man, then, deliberately picks a fight with his lover's husband – who had earlier also exchanged harsh words with the heroine's cynical second husband. Though lacking perhaps the cheerful mockery that Bunuel managed to bring to this essentially staid environment (even if the Mendelssohn score still lends it undeniable irony), Oliveira's script is both intelligent and witty – to which his small cast of unknown actors (to me, at least) respond extremely well. These extend to even the minor roles of butler and maid: apart from indulging in their own romantic dalliances from time to time, the butler is visibly annoyed in having to attend to the mansion's gates after every vehicle that calls at the premises (in fact, apart from a brief flashback and the church finale, we're virtually stuck on the grounds of this single location). He also witnesses the second husband's fatal leap from the window as well as the wife's escape from the very same room (in which she's been locked by Spouse No. 1 after her passion for his replacement is re-ignited), while the maid has no qualms about spying on her masters' violent squabbles through a keyhole. 　　The ironic ending sees all concerned attending the wedding ceremony of a young bride and groom – with the central couple entering the church together but then taking separate seats away from one another because of lack of room; the emphasis placed on the newlyweds' promises of lifelong devotion obviously ring hollow at this point while, seemingly on a whim, Oliveira decides to end the film on an amusing shot of the church organist (sporting the somewhat clichéd unkempt appearance of the typical musicologist). It should be said here that PAST AND PRESENT is the first entry in the director's so-called "Tetralogy Of Frustrated Love" along with BENILDE OR THE VIRGIN MOTHER (1975), the five-hour TV serial DOOMED LOVE (1979) – both of which I own and intend to check out presently, as part of my ongoing retrospective honoring Oliveira's 100th birthday next month – and the as-yet unavailable FRANCISCA (1981).