Rodrigo, a film director, intends to make a film about the Conquest in a remote village in the Bolivian altiplano. Initially receptive to the idea, the Indian community living there reacts violently when some local wildlife is destroyed. Para recibir el canto de los pájaros is a little more subtle in its portrayal of cultural conflict than Sanjinés's earlier film, Yawar Mallku — where violence is seen as the only legitimate response to western cultural domination — for it not only shows that not all that is western is bad, but it even highlights negative elements within Andean culture. Most important for this discussion, Para recibir el canto de los pájaros plays with the film-within-a-film convention inherited from Hollywood, but it sometimes tricks the spectator making him unsure as to whether a scene is part of the film or part of the everyday reality of a film crew from La Paz in the Andes. Underlying the scene in which the producer, Pedro Barrón, emerges from the pit in which he has been trapped, and sees his Conquistador double walk nonchalantly past him, is the crucial notion of self-consciousness. Pedro realizes that his role as film producer in the late twentieth century is a re-enactment of 'his' role as Conquistador in the early sixteenth century. The spectator is drawn into this playing-off of two time-continuums, and in effect achieves a double-consciousness in which he can see Aymara culture from within and also from without. 　　A heavy-handed allegory by a veteran Bolivian film-maker about the racism endemic in his country and the more universal inability to learn from history. It opens with masked conquistadors (the harquebus angels) lined against the Andean altiplano skyline, as a mainly mestizo film crew track up the hill like Aguirre's invading army in Herzog's Wrath of God. Thus begins a series of broad parallels, culminating in a siege, whereby the crew, assailed by the Indian community (who have refused to be in their historical movie), almost resort to the use of the ancient harquebuses in their possession. The song of the title refers to the birds of the Indians' annual music festival: the crew shoot them for sport. Beautiful scenery.

这是一部关于一群孤儿成长的影片，导演跟拍了十二年。确切的说，这些孩子是兄弟，童年给了他们残酷的记忆，被父母遗弃，被同学歧视，被社会漠视，他们在艰苦的岁月中野生野长着。 　　如今他们长大成人了，政府给了他们舒适的生活环境和就业环境，新来的女院长也让他们感受到了前所未有的关怀和温暖，他们在各自的生活轨迹中，找到了自己的位置。然而，他们又卷入新一轮竞争当中。童年共患难的兄弟们长大后是否可以延续手足情，也是影片纪录的主要部分。 　　这部影片是导演杨荔钠与法德ARTE电视台合作作品。

这是一部关于一群孤儿成长的影片，导演跟拍了十二年。确切的说，这些孩子是兄弟，童年给了他们残酷的记忆，被父母遗弃，被同学歧视，被社会漠视，他们在艰苦的岁月中野生野长着。 　　如今他们长大成人了，政府给了他们舒适的生活环境和就业环境，新来的女院长也让他们感受到了前所未有的关怀和温暖，他们在各自的生活轨迹中，找到了自己的位置。然而，他们又卷入新一轮竞争当中。童年共患难的兄弟们长大后是否可以延续手足情，也是影片纪录的主要部分。 　　这部影片是导演杨荔钠与法德ARTE电视台合作作品。

暑假的長洲是鬧市外的一片樂土，三個小孩一隻狗，趁着島上居民出門旅遊或舉家移民，偷偷闖進不同人的家中，玩樂之餘，也透過孩童的目光，暗中破獲了成年人世界的秘密。 　　直至暑假結束，三個站在成長交叉點的孩子，也迎來了截然不同的命運⋯⋯

River of Grass has all the elements of a conventional road movie: a car, a gun, criminal plans, and young lovers on the run from an angry father who also happens to be a suspended police officer. But writer and director Kelly Reichardt has instead taken these familiar elements and fashioned an anti-road movie, a deadpan film that is more existentialist comedy than crime drama. The young lovers in question are Cozy, the cop's daughter, and Lee Ray, a shady character from the wrong end of town. Lee Ray comes into possession of a pistol, and soon he and Cozy find themselves unintentionally involved in a shooting. Fearing capture by the law, the two make plans to leave town, committing a series of robberies on the way. However, they don't manage to get very far; indeed, the film's central premise is how the romantic myth of lovers on the lam proves disappointing in the face of a far more pedestrian reality. This well-received, low-budget indie was shot on location in South Florida, placing its story against an appropriately depressed landscape of sun-bleached strip malls, barren highways and overgrown, swampy fields; the title is another name for the Florida Everglades.

River of Grass has all the elements of a conventional road movie: a car, a gun, criminal plans, and young lovers on the run from an angry father who also happens to be a suspended police officer. But writer and director Kelly Reichardt has instead taken these familiar elements and fashioned an anti-road movie, a deadpan film that is more existentialist comedy than crime drama. The young lovers in question are Cozy, the cop's daughter, and Lee Ray, a shady character from the wrong end of town. Lee Ray comes into possession of a pistol, and soon he and Cozy find themselves unintentionally involved in a shooting. Fearing capture by the law, the two make plans to leave town, committing a series of robberies on the way. However, they don't manage to get very far; indeed, the film's central premise is how the romantic myth of lovers on the lam proves disappointing in the face of a far more pedestrian reality. This well-received, low-budget indie was shot on location in South Florida, placing its story against an appropriately depressed landscape of sun-bleached strip malls, barren highways and overgrown, swampy fields; the title is another name for the Florida Everglades.

16岁裴野在生日当天，因生母与继父车祸双亡，被迫与继父的女儿桑晚（22岁）共同生活。桑晚成为其法定监护人，两人在拮据环境中相依为命。

在1994年卢旺达大屠杀中，波兰的鸟类学家安娜救下了图西族少女，带她回到了波兰。但是过去的伤痛无法使两人获得内心平静，她们只好重新回到非洲，寻找过去的回忆……战争残忍，痛感真实。

砂刑历93年——被砂海覆盖的世界中有一群人生活在小岛一般的漂泊船“泥鲸”上。这个完全与外界隔离的岛上有513人。分为拥有以感情发动源的超能力“…