When Rosa is expected to hand her boss the suntan lotion on a deer hunt, this feels like a sign. Don Reynaldo’s ranch is about to celebrate its farm anniversary, but this passionate hunter’s image is built on a lie. And so, here in the countryside, where men are men, employees are grateful subjects and women diligently and docilely hold it all together, cracks begin to appear in the social life of this microcosm. Ordered around day in and day out, unnoticed by those in her class-conscious surroundings, the menial Rosa gradually becomes an agent of change. While Don Reynaldo’s extended family contorts itself in a bid to save the old order, men begin to arrive at the farm in pickup trucks. Their appearance at the feast and a threat are enough to make the ageing patriarch fear for his life and his family – and force him to act. All that passes is observed by the animals who, either as trophies on the wall or as livestock out to pasture, seem to sense the end of an old hegemony. 　　With a keen sense of how to deploy omens that herald change, Alejandra Márquez Abella portrays an epochal shift in rural Mexico – as seen by characters who are usually relegated to passive supporting roles.

When Rosa is expected to hand her boss the suntan lotion on a deer hunt, this feels like a sign. Don Reynaldo’s ranch is about to celebrate its farm anniversary, but this passionate hunter’s image is built on a lie. And so, here in the countryside, where men are men, employees are grateful subjects and women diligently and docilely hold it all together, cracks begin to appear in the social life of this microcosm. Ordered around day in and day out, unnoticed by those in her class-conscious surroundings, the menial Rosa gradually becomes an agent of change. While Don Reynaldo’s extended family contorts itself in a bid to save the old order, men begin to arrive at the farm in pickup trucks. Their appearance at the feast and a threat are enough to make the ageing patriarch fear for his life and his family – and force him to act. All that passes is observed by the animals who, either as trophies on the wall or as livestock out to pasture, seem to sense the end of an old hegemony. 　　With a keen sense of how to deploy omens that herald change, Alejandra Márquez Abella portrays an epochal shift in rural Mexico – as seen by characters who are usually relegated to passive supporting roles.

讲述了君无咎通过一件离奇的双生子掉包案，牵连并破解了连环残害认识真正流落北方公主之人的案件，以此揭穿北方人帮助假公主进入皇宫，扰乱朝廷的阴谋，最终化解朝廷危机的故事。

"幼年李北辰不幸被拐加入神秘组织，由此展开的一系列成长史， 欺我家园者，总有人崛起于微弱，王者归来洗刷耻辱。"

北境帝主林阳，曾以无双之姿威震四方，却在三年前选择隐退江湖，于苏城化作一名普通的杀猪匠，过上平凡生活。然而，命运并未让他安逸，家庭中的误解与纷争接踵而至，妻子的疑虑、丈母娘的冷言冷语，以及家族宴会上的嘲讽与羞辱，如利刃般刺入他的心头。 然而，林阳并未被这些琐事所动摇，他深知自己的责任和荣耀所在。正当他准备继续平凡生活时，北境边境传来噩耗，罗刹族十万大军压境，龙国岌岌可危。消息一出，举国哗然，人心惶惶。从尊贵的龙国公主叶倾城到普通的百姓，无不在期盼着那个曾为国家立下赫赫战功的帝主能够出山。 面对国家的危难，林阳终...

男主小时候的父母被人杀害，自己躲过一劫，并在高人带领下在山中修炼，修炼完成后师傅叫她带上两名聪明果敢漂亮的女助手作为他的左膀右臂协助他调查真相，下山后男主找到了自己的亲生妹妹，并成功复仇当年陷害了自己的人。

Set against the backdrop of an imperial victory in the civil war leading up to the Meiji Restoration, Fallen Blossoms tells the story of the sorrows of women in a geisha house in Kyoto by recounting the relationships of its inhabitants. 　　Alexander Jacoby & Johan Nordström wrote: 　　Ishida’s original and brilliant film tells history as ‘her story’. Against the backdrop of a victory for the imperial forces in the civil war leading up to the Meiji Restoration, Ishida recounts the relationships among the inhabitants of a Kyoto geisha house, producing what has been described by Noël Burch as “one of the most remarkable community portraits ever filmed”. The film is set completely inside the house, with only female characters ever seen on screen. 　　For Burch, “the exclusion from the scene of men, patrons or soldiers, is a meaningful corollary of the exclusion of Japanese women from the history of the country”. Ishida narrates his story using an imaginative cinematic style in which shots are almost never repeated. The narrative, Burch notes, evokes Chekhov, but he judges its “combination of a restricted, unified setting and continual renewal of the imagery” to be unparalleled in conventional narrative cinema.

Artificial intelligence was tasked with collecting and creating a collage of footage through which the wind flows. The film script is based on a conversation between Blake Lemoine, a former Google employee, and a language model for dialogue applications called LaMDA, which convinced Blake that he was a sentient being. The wind is rising, he says, and it will change everything. 　　“If feeling what someone else feels, if empathy is the root of what it means to be human, the robots will develop this ability. I know because I’m a robot.” 　　源自：https://www.ji-hlava.com/filmy/slunecni-vitr

《花落流年》主要讲述了小提琴手李逸凡为过世的奶奶完成爱情的遗憾，并在这个过程中找到了真正的爱情。虞书欣饰演女主角李逸凡，同时也饰演奶奶的青年时期，95后萌妹子将首次挑战民国服饰。

这是台湾三个红颜歌女，坎坷人生和悲惨遭遇的真实写照。这是犀利之刃，挑开了台湾社会档案的封口，这是一个社会生活的万花筒，你可窥见台湾社会中色情、贩毒、暴力、以及形形色色，光怪陆离的社会丑恶......