所有重访总统的人都通过引人入胜的档案画面、令人震惊的椭圆形办公室录音，以及令人信服的新采访，让水门事件栩栩如生，采访了那些使罪行永久化、追查罪行的人和描绘罪行的人。这篇演讲揭示了一个故事，这个故事始于一次“三流盗窃企图”，并升级为美国历史上第一次也是唯一一次总统辞职。一位杰出的演员讲述了这个故事，包括罗伯特·雷德福德、鲍勃·伍德沃德、卡尔·伯恩斯坦、达斯汀·霍夫曼、乔恩·斯图尔特、雷切尔·马多和其他人。

一对男女相约重游男友与兄弟遇害的命案现场，但这场旅程并非缅怀之旅，更掺杂了追溯死者生前最后生命轨迹的过程。

一对男女相约重游男友与兄弟遇害的命案现场，但这场旅程并非缅怀之旅，更掺杂了追溯死者生前最后生命轨迹的过程。

在湘西边境的一个小山城里，有一个老船夫守着一条渡船，帮来往的人渡河，他与外孙女翠翠相依为命。17年前，翠翠的母亲与一名军士未婚生子，二人双双殉情。老船夫不想翠翠重蹈覆辙，一心想把翠翠托付给一个可靠的人。茶峒城里的船总顺顺有两个儿子，大佬天保和二佬傩送。他们同时爱上翠翠，而翠翠爱的是二佬。兄弟俩决定用唱情歌的方式让翠翠选择，歌声没有传来，传来的却是大佬被水淹死的噩耗。二佬虽仍爱着翠翠，但因为哥哥的死赌气出走。在一个风雨交加的夜晚，老船夫抑郁而死。翠翠终于明白了许多事情，于是，她守着渡船，等待二佬回来。

在湘西边境的一个小山城里，有一个老船夫守着一条渡船，帮来往的人渡河，他与外孙女翠翠相依为命。17年前，翠翠的母亲与一名军士未婚生子，二人双双殉情。老船夫不想翠翠重蹈覆辙，一心想把翠翠托付给一个可靠的人。茶峒城里的船总顺顺有两个儿子，大佬天保和二佬傩送。他们同时爱上翠翠，而翠翠爱的是二佬。兄弟俩决定用唱情歌的方式让翠翠选择，歌声没有传来，传来的却是大佬被水淹死的噩耗。二佬虽仍爱着翠翠，但因为哥哥的死赌气出走。在一个风雨交加的夜晚，老船夫抑郁而死。翠翠终于明白了许多事情，于是，她守着渡船，等待二佬回来。

独立纪录片《边城》，2013年春节期间，导演与长沙火车站流浪者一同生活了近一个月，拍摄了这部纪录片。希望有更多人理解他们的真实生活，记录中国底层真实社会。西南大学 摄制，曾获第二十届北京大学生电影节最佳纪录长片、最佳摄影等奖项。从流浪者的视角审视中国春节

剧中所有的人和事全部以腾冲抗战中的历史人物事件为原型，蒋欣饰演的“骆小冬”是出身名门的大家闺秀，一身正气出国留学归来后想一展抱负。然而，国际商…

该剧所有人物和事件皆以腾冲抗战中的真实历史人物与事件为原型。蒋欣所饰的“骆小冬”是出身名门的大家闺秀，她正气凛然，留学归来后一心想要施展抱负。然而此时，国际商贸边城、滇西重镇腾冲沦陷。梁文权、李运洪等人与他们心仪女孩“骆小冬”的父亲骆怀印，以及日军情报官兼行政班本部长池田少佐之间，展开了明暗交织的较量。他们围绕着暗杀、锄奸和钨矿走私调查，凭借智勇双全的表现，最终成功策划了“飞凤山歼灭战”。

"My next short was Silver City – it, too, had an English title and consisted of eight shots. Each shot was as long as a 30-metre roll, so it in fact lasted a little more than three minutes. And all of the shots were long shots, extreme long shots. And they were all done from the third, fourth, or fifth floor of the apartments where I lived at the time. (I used to change apartments rather frequently.) And they all showed streets or crossings, first very early in morning, at three or half past three when they were completely empty, and the lights were turning from green to red to green again, when there were no cars or anything crossing the streets, and with that morning light where everything is blue. And I used to shoot them even without cutting the ends off the 30-metre rolls – at the end, the image would be turning yellow or red or quite simply white. I didn’t cut anything away." 　　"The second half consisted of shots in the evening, sometimes of the same places, the same streets, but with heavy evening traffic going out of the city. The film again used Mood Music, other pieces this time – each 20 seconds long and each repeated three times. The film was extremely contemplative. It was really like standing at a window and looking down on the streets, either completely empty or, on the contrary, completely stocked. Only in the very first shot was there anything like a hint of a story. The very first shot was of a railway line – just an empty landscape, very early in the morning, too, and after two minutes of a completely empty shot, someone crosses the rails from one side of the frame, and leave the frame on the other. Immediately after he has crossed the rails, the train appears: that is to say – the camera is very close to the rails and – bang – the train is in the shot, and he passes, and slowly disappears in the distance. You get the impression that maybe it’s the start of some kind of story, but nothing happens until the end. Just the empty streets, and the views out of the windows." 　　" I’m not sure why I called it Silver City. I still think it expresses the mood of the film very well – just the sound of the two words. Maybe it’s the alliteration that makes it. I don’t know."

一场关于爱与救赎的谋杀。