蓝靛厂得名于清朝时期，为染坊开设之地。 　　一九五八年，为了响应毛主席提出的“盲人要做到残而不废”，国家在北京郊区建立盲人工厂。五九年，盲人工厂搬迁至北京蓝靛厂，之后的三十年里，蓝靛厂的残疾人家庭发展至300多户。2003年，盲人工厂解体，因为房地产的开发，蓝靛厂开始拆迁。在蓝靛厂生活了大半辈子的盲人家庭相继搬离蓝靛厂。到2007年，盲人工厂仅剩两幢职工宿舍楼，二十多户盲人，他们成了所谓的钉子户。他们中还有瘸子，聋哑人，以及正常人家庭。如今的蓝靛厂，已经迅速发展成为北京一个经济商业区，高档商场和商务写字楼，严严实实地遮住了盲人五金厂的低矮的老楼。草地没了，瘸陈他只能每天在家门口活动胫骨，但瘸陈自己还是在和大自然交流着，而瘸陈的邻居哑巴大叔，每天吃过午饭依然还是坐在门口看看过路的人，偶尔写写字，把自己焦躁的心情写在纸上。隔着一条马路的盲人们，活动范围基本上就是他们的小院子。张叔叔和老伴，他们白天在家里听广播，住隔壁的外地小姑娘乐乐每天都会跑来给他们讲讲自己父母的笑话，顺便看会电视，乐乐充当了张叔叔和老伴的眼睛。太阳好的日子，盲人们都会聚集到茹叔的小屋门口谈天说笑。而黑夜降临时，盲人们的歌喉却异常响亮。深夜里，他们依然留恋茹叔的小屋，因为他们谈论的事情依然没有结果，包括他们对当下的不满。2008年的冬天。对盲人们来讲是个略带悲伤的季节。为了上学，乐乐不得不回到老家。而盲人石阿姨的老伴，却在这个寒冬去世了，永远失去了住新房的机会...... 　　又一个春天来了。往后的日子似乎还很长，只要还活着，盲人们都是这样想的。 　　和往年一样，李阿姨把头年发霉的被子拿出来晒了晒，然后回到家里，当她听到自己十年前唱的歌声时依然乐开了怀，她似乎又回到了那个充满激情的年代。

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⋯⋯

以夸张幽默的方式玩转各类型的短片，故事内容不固定，故事风格也不固定，唯一固定的是制作班底和演员。短片多以轻松幽默为主，用最调侃的视角打造全网最幽默的搞笑系列短剧。

《尖叫制片厂》以夸张幽默的方式玩转各类型的短片，故事内容不固定，故事风格也不固定，唯一固定的是制作班底和演员。短片多以轻松幽默为主，用最调侃的视角打造全网最幽默的搞笑系列短剧。

An installation presented on 11 screens featuring nude human figures engaged in cathartic performance.

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。