许多孩子不了解他们盘中的食物是哪里来的，他们也许会说，是在商店买的。 　　在荷兰，菜园学堂（The School Garden）体系已经有了100多年的运行经验。每年，小学生由学校安排去田野学习如何播种、培育、和制作食物。从教室到户外，他们会在劳动中学到一些重要的东西，也就是生命的 循环。泥土弄脏了手脚，但是收获中充满喜悦。如何种植蔬菜？如何更好地对抗肥胖抑或建立生物多样性？孩子们会与大自然和动物亲密接触。 　　著名荷兰EMS影业（EMS Films）制作人团队在一个完整学年中，记录了阿姆斯特丹五个班级的菜园学堂计划。孩子们的好奇心、探索能力，成功和失败的经历都被生动、真实地记录下来，信息全面、充满乐趣。 　　在超过100年的时间里，菜园学堂计划代表了一种广泛的自然教育，使得孩子们学习知识并尊重自然。通过探索体验，自给自足获得乐趣是这套课程的核心。生物多样性、生命的循环、健康食品、食品和可持续性等主题受到了大量的关注。 　　食品、生物多样性和自然主题是当今世界的热门话题。现代人已经与食品失去联系。这种忽视让我们变得犹豫，并导致错误的决定：太多的方便食品，太多的糖分和脂肪，而新鲜蔬菜又十分欠缺。比起教会学生如何种某种蔬菜，怎样更好地启发他们意识到食物的内在价值？如果你已经种下了自己的蔬菜并给予充分的照顾，那么你肯定也会想要吃掉它。 　　EMS影业制作人团队把握到这种大众趋势，并率先用纪录片的方式来讲述学校庭院计划。EMS影业以记录荷兰自然而闻名，如The New Wilderness 和Katwalk，所出品的影片已经在荷兰的电影院获得超过百万人的观看量，观众中的大部分来自国内外电影节、电视和各种在线媒体。

电影《秘密菜园》是一部反应中国当代年轻人爱情和创业的电影，故事讲述一个傲娇的富二代美女爱上一个固执的农二代技术男的曲折而感人的爱情故事。

电影《秘密菜园》是一部反应中国当代年轻人爱情和创业的电影，故事讲述一个傲娇的富二代美女爱上一个固执的农二代技术男的曲折而感人的爱情故事。

In a neighbourhood rife with racial tension, a local girl falls for a recent arrival.

In a neighbourhood rife with racial tension, a local girl falls for a recent arrival.

Jeton, a 10-year-old boy is sitting on the edge of a balcony on the 4th floor. Neighbors and passers-by, terrified by this situation, call the police and firefighters for help.

Jeton, a 10-year-old boy is sitting on the edge of a balcony on the 4th floor. Neighbors and passers-by, terrified by this situation, call the police and firefighters for help.

崇山峻岭、巍峨山颠，耸立着一座恢宏壮丽的中世纪城堡。在这个晴朗的日子里，让人哭笑不得的故事相继上演。镜头一：一名憨厚老实又稍稍有些笨拙的工匠，正坐在城堡的窗口修葺窗户，他已经砸伤了自己的两个手指，一不小心又砸到另外一只手指。他本能地缩回手，却不慎掉了下去。工匠奋力抓住阳台边沿，但是另一双手将他推了下去。工匠福大命大，暂时逃生，可是悲惨的命运即将到来；镜头二：身披铠甲的国王走进房间，发现有一双手在阳台，他认定是小偷偷他的财宝，于是乎……镜头三：一名小偷钻进国王的房间，准备行窃，这是一切悲剧的开端，也是一切悲剧的结尾。 　　北京电影学院2011届毕业作品。

Cast 　　Irmantas Bacelis ... Rolanas' Father 　　Elzbieta Degutyte ... Emilija 　　Rolandas Kazlas ... Emilija's Father 　　Viktorija Kuodyte ... Emilija's Mother 　　Saule Rasimaite ... Emilija's Sister 　　Karolis Savickis ... Rolanas 　　Antanas Surgailis ... Ina's Father 　　Dovile Tarvydaite ... Ina 　　Plot / Synopsis 　　Soviet eighties. A little town in the periphery. After his parents' divorce, 11-year-old Rolanas and his dad move in next door to same-aged Emilija. Friendship is born between the kids, however, shyness or fear of opening up makes them communicate through the wall, sitting in their own balconies, or through a socket connecting their flats. Emilija's parents also appear to be on the verge of divorce. The children discover common topics, activities. Unfortunately, a nearly tragic accident prevents Emilija to go to the balcony. This encourages both children to set out for a "real" date.

柏林电影节银熊奖提名。 　　La Terraza (1963) 'The Terrace' 　　Shocker From Argentine: Attempt at Symbolism Ends in Melodrama, Torre Nilsson Depicts Youth in Rebellion 　　By BOSLEY CROWTHER 　　Published: November 25, 1964 　　LEOPOLDO TORRE NILSSON, the great Argentine new wave film director who made an arresting, disconcerting picture about an elusive young gold-digger entitled "Summerskin," has now come up with another arresting, disconcerting picture about a group of wealthy, elusive, world-weary young Buenos Aires sybarites. It is called "The Terrace" and it opened yesterday at the Trans-Lux 52d Street and the Globe. It had previously been seen here in one performance at the New York Film Festival in 1963. 　　Following very much in the spirit of such memorable films about decadent youth as Federico Fellini's "I Vitelloni" and Claude Chabrol's "Les Cousins" and "Le Beau Serge," it takes a long look at a low-key orgy of rich young fellows and fashionable girls who barricade themselves from their troubled elders on the recreation roof of a swank apartment house. 　　There, in symbolic isolation, they loll in scanty swimsuits beside the pool, drink beer (later switching to whisky, which is obligingly fetched for them by the 10-year-old daughter of the superintendent, a happy and enterprising child), make love in desultory fashion and finally organize themselves sufficiently to play a game called "raft," which turns out to be the most unusual and explanatory action in the film. 　　In this game, all the players, except one, line up on the edge of the pool. Then the one walks down the line, pausing briefly in front of each player, deciding whether he (or she) shall be the one who is permitted to remain "on the raft" with him (or her). Those players not wanted are pushed into the pool after brief and candid explanations of what is disagreeable about them. 　　Obviously, this is a wicked sort of "truth and consequences" game in which the jealousies and resentments, as well as the preferences, of the players are revealed. And in the playing of it we are made to perceive, at least, the sexual tastes and hero concepts of the foremost individuals in the group. 　　This is, indeed, the showdown of the perverted natures of these young folks, complementing other passing intimations of their anti-Semitic and fascistic tendencies. Toward the end their bravado Is evidenced in an impromptu "suicide roulette," in which they take turns standing on the parapet of the roof and threatening to leap (or be pushed off by a companion) if their elders break through to them. 　　And finally, when the elders do reach them, during a defection in their ranks, the most arrogant of the fellows grabs the small child and tosses her over the parapet. 　　It is clear that Mr. Torre Nilsson and his writer and wife, Beatriz Guldo, offer this tale as an allegory of the angry alienation of a class of young people in the world today. Their alienation, too, from religion is indicated in one scene in which a priest hovers over them in a helicopter trying to persuade them through a bull-horn to desist. 　　But the weakness and inadequacy of the drama is that it does nothing more than document the rebelliousness of the young people. It does not specify why. And the little we are shown of their elders represents them as mere hollow clichés. 　　Nothing is wrong with the performing. Leonardio Favio is tough and blunt as the most arrogant of the fellows, and Graciela Borges is the niftiest of the girls. Other young actors and actresses frisk and flaunt themselves aggravatingly. And a precocious child named Belita is delightfully normal and contemptuous of the lot, until she is thrown off the parapet and left at the end with a symbolically crippled leg. 　　Photographically, Mr. Torre Nilsson has done a commendable job, capturing the look of Buenos Aires in a hard, realistic style and hinting at the natures of his youngsters with significant angle views of them. But the lack of pictorial equating of the defiant ones with that against which they rebel leaves the film a mere roof-top melodrama rather than a social study with a lesson to impart.