As armed conflict flares up at the edges of Europe, the commemoration of the Second World War is used to prepare people for renewed conflict. In Azerbaijan, the recent expulsion of Armenians from Nagorno-Karabakh is presented as a national success. And in Russia, with much flag-waving, bombastic language and tank parades, the invasion of Ukraine is equated with the victory over fascism in 1945. 　　Meanwhile, the Polish army displays its latest acquisitions, and the residents of Kyiv—between air-raid sirens—view the destroyed tanks that their own army has captured from the Russians. It’s only in Berlin that the public pays little attention to the Soviet memorial in Tiergarten Park, close to the once-defeated Reichstag, and dances as if there’s no tomorrow at an open-air techno party. 　　Filmmaker Vitaly Mansky was born in Ukraine, made critical documentaries in Russia in the 1990s and lives in Latvia due to his political stance since 2014. By showing how war commemorations vary across Europe, without commentary, he exposes a fundamental and potentially dangerous difference in mentality.

As armed conflict flares up at the edges of Europe, the commemoration of the Second World War is used to prepare people for renewed conflict. In Azerbaijan, the recent expulsion of Armenians from Nagorno-Karabakh is presented as a national success. And in Russia, with much flag-waving, bombastic language and tank parades, the invasion of Ukraine is equated with the victory over fascism in 1945. 　　Meanwhile, the Polish army displays its latest acquisitions, and the residents of Kyiv—between air-raid sirens—view the destroyed tanks that their own army has captured from the Russians. It’s only in Berlin that the public pays little attention to the Soviet memorial in Tiergarten Park, close to the once-defeated Reichstag, and dances as if there’s no tomorrow at an open-air techno party. 　　Filmmaker Vitaly Mansky was born in Ukraine, made critical documentaries in Russia in the 1990s and lives in Latvia due to his political stance since 2014. By showing how war commemorations vary across Europe, without commentary, he exposes a fundamental and potentially dangerous difference in mentality.

Heinz Emigholz 热衷以光影去纪录建筑，本片选自大型计划「超越摄影」最新的「街市风景」系列。在乌拉圭首都 Montevideo, 一名导演约见临床心理学家，倾吐内心的困扰，由德国战后的童年经历谈起，然后谈到他的电影创作和他遭遇的问题。两人进行着马拉松式对话，而 Emigholz 不只要观众洗耳聆听，还要用眼观看，镜头里不停转换的背景，出现不同的特色建筑与街景，成了同样重要的主角，也在跟喋喋不休的角色进行着另一种对话。（41届香港国际电影节）

A cinematographic composition of three distinct elements: scenes of the German band Kreidler (Thomas Klein, Alexander Paulick, Andreas Reihse, Detlef Weinrich) at work on their album “ABC” in a recording studio in Tbilisi, Georgia, 26 densely filled notebooks of Emigholz, and shots of anonymous buildings and streets in Tbilisi.

李梦华（唐纳 饰）只是一介穷书生，却爱上了小店主的女儿张小云（张新珠 饰）。然而，张小云一心希望能够嫁给茶栈经理王俊生（顾梦鹤 饰），一圆自己当老板娘的美梦。小云的好友即将和爱人携手步入婚礼的殿堂，小云想买一件大衣穿去参加好友的婚礼，无奈李梦华实在囊中羞涩无法相助，只能窝囊的逃走。 　　最终，小云设计让王俊生的秘书小陈（蔡若虹 饰）替自己付了大衣的钱。某日，小云喝得酩酊大醉，王俊生趁虚而入将小云带回了自己的家，两人在半推半就之下发生了关系。之后，在小云父亲的撮合之下，两人终于结为夫妻，然而没过多久，王俊生便抛弃了小云。

李梦华（唐纳饰）只是一介穷书生，却爱上了小店主的女儿张小云（张新珠饰）。然而，张小云一心希望能够嫁给茶栈经理王俊生（顾梦鹤饰），一圆自己当老板娘的美梦。小云的好友即将和爱人携手步入婚礼的殿堂，小云想买一件大衣穿去参加好友的婚礼，无奈李梦华实在囊中羞涩无法相助，只能窝囊的逃走。最终，小云设计让王俊生的秘书小陈（蔡若虹饰）替自己付了大衣的钱。某日，小云喝得酩酊大醉，王俊生趁虚而入将小云带回了自己的家，两人在半推半就之下发生了关系。之后，在小云父亲的撮合之下，两人终于结为夫妻，然而没过多久，王俊生便抛弃了小云。

陈志雄为典型的都市夹心阶层，他每天受尽上司欺压，及家里柴盐油米的担忧，精神备受压力。一次公司裁员，其下属何忠信无故被革职，却误以为是雄所为。从此，信不断以电话骚扰雄，另外，雄的妻子李秀丽又突然怀孕，顿时令雄无所适从，这个膨胀的气球处于爆烈的边缘。 　　雄开始走向极端，导致夫妻不和，与好友张伟明友情破裂。这时，信更趁虚而入，挟持丽及其女要向雄报复。雄不顾一切要救回妻儿，但却闹得满城风雨，众人误以为他是一个神经怒汉——抢劫警员配枪，企图与妻儿同归于尽……

家道中落的宁无缺被师父收养栽培，接任新一届共济会天尊，不料师父被歹人背叛绑架，宁无缺又因出身卑微被未婚妻退婚招人嘲笑，但却因自身才华魅力吸引了梅家小姐梅子苏，二人携手共度难关，展开了一段爱情佳话。

五岁小女孩苏柒（阿柒）从深山道观“天道院”下山，回归都市家族后引发的一系列奇幻与情感交织的故事。阿柒自幼被遗弃，由三位师父抚养长大，身怀异能，能视鬼魅、通天命，更拥有天道院至宝——黄金手镯与黑金卡，象征着她不凡的身份与使命。回到苏家后，阿柒面对的是一个充满谎言与背叛的家庭：父亲苏不凡与秘书赵轻柔早有私情，养女苏真真实为二人亲生。母亲司马兰多年蒙受欺骗，在阿柒的帮助下逐渐觉醒，最终毅然离开苏家，带着阿柒重返娘家司马家族。司马家势力雄厚，几位舅舅对阿柒宠爱有加，尤其是三舅舅司马浦东，与阿柒之间逐渐建立起深厚的情感纽带。

本片描述了一个平静国家的人民不同的遭遇，但它从未成为一个国家。在若干年后的今天，大家也许都淡忘了，但那些古老的回忆仍然会让我们感动不已，一个个小故事组成了感动的元素，这些普通人民的故事会让我们铭记……