昔日香港，長者知得最清楚！最佳嘅掌故王，當然係喺社區土生土長嘅老友記。睇住社區變化嘅資深居民帶領，向廿幾歲嘅年輕人，大談後生仔女意想不到嘅地區老故事。鰂魚涌山邊原來曾經有吊車上栢架山？灣仔大佛口以前係日本人社區？睇落保留傳統風味嘅大澳又有幾多嘢真係無變？唔同嘅老友記，有老街坊、有導賞團義工、有歷史發燒友，帶年輕主持行街 (或坐低慢慢傾)，同觀眾一齊話當年。

左天从自己的懵懂无知到最后的人生感悟历经了许多的人和事。左天他经历了人生的各个阶段，然后从每一个阶段慢慢的成长。到最后左天才终于明白人生的意义，人生不容错过。

We pick up the story on our main character's bus ride home. He sits alone, looking content, trying to pass the time. Then, something seems to get in his eye, because he rubs it and then closes the buses window. Something changes about him. He looks around and feels a strange disgust in the bus filled with quiet strangers also trying to get home and minding their own business. Pavel-Ivanovich is so disgusted that he gets off the bus several stops before his home and walks, arriving at dark. From here his story begins, and we go along for his sad ride. From that evening on he sees only sadness and wrong in everything. He can't respond to kindness, and scolds those closest to him. He offends everyone. At his work he tries to go against as many people as possible, and hurt ordinary citizens too. He also feels that everyone is against him. His condition seems to worsen. How will all this end. Sure this can't be the end for Pavel-Ivanovich, a good man somewhere deep inside. The brilliance of this film lies in the main character's deep state of mind. His suffering. The fact that he hurts everyone around him, feels horrible about it but still does it until he almost loses everything. If you like film's where you feel that you can relate or feel the character's emotions, you might like this film. An incredible pressure is built up throughout the film, and the last scene, for me at least, magically lifts it, if only for a couple of seconds. This is a strange film, and I don't say that a lot. It is very hard to describe, but the main elements that drive the feel of this film are the main character's state of mind and the music (more than half of the film has incredible original music playing in the background). Daneliya's films have incredible music like in Autumn Marathon, Kin-Dza-Dza, and Thirty-Three. Daneliyaa was into jazz and played drums in a band way back before he started making film so his films are very rich in music. Also this film is sad, but is also a comedy. All these elements mix to make an incredible movie

《旋趣趣知知鸟》是一部面向学龄前儿童的动画系列，围绕“好奇、探索与初级认知”展开。故事发生在一艘鲜红色的小船上，趣趣知知鸟小伙伴们通过一次次充满童趣的冒险，认识身边的世界。 每一集都会引导孩子理解诸如“上与下”“快与慢”“里与外”等基础概念。作品以温和的幽默、清晰的视觉表达和极少的对白，帮助幼儿直观地感知世界的运行方式，鼓励他们观察、尝试，并在快乐中学习。

《昔归轶事》以世界茶树起源地之一的临沧市临翔区昔归茶山为背景，讲述一位台湾青年远赴临沧茶山，寻找那个用文字叩响他心门的女孩。通过茶为媒，信传情，家为归的情感主线，展现了“茶暖人，家聚心”的温情叙事,传递“茶和天下，家国归心”的深意。

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).

陆九思自幼随父母征战沙场，却遭奸人恶意陷害，致使父母惨烈战死，幸得堂姐陆星瑶拼死相救。多年后，司天监预言凤星降于将军府两位小姐之中，陆九思为查明真相、报仇雪恨，毅然改扮成堂姐身份重回将军府。她立誓为枉死的父母与堂姐复仇，男主洛君临也倾力相助，一同探寻当年阴谋。最终，陆九思重振凤家军，披甲上阵，奋勇杀敌。

赵雪花意外得知自己有一笔巨额遗产，她担心自己去世后儿女丈夫无法继承遗产，于是想与李明朗补办结婚证，却被李明朗拒绝侮辱，李明朗还不让她花钱做手术。赵雪花在看见家人的真面目后，终于彻底对全家失望，决定放弃家人。全家最终知道赵雪花有一笔巨额遗产，后悔不已。

作品以虚构的四流大学——国际工业大学为舞台，描绘了一群年轻人尽管学历给恋爱和前程蒙上了阴影，但仍努力克服困难的形象。这部作品是后续群像剧（如《男女7人夏物语》）的先驱之作，创作背景是当时引发社会关注的学历歧视问题。从第二部开始，剧情着重刻画每个登场人物的成长历程。