女孩彤在高考即将来临时期，承受着同年纪的朋友无法想象的变故和压力，她觉得有爱的地方才能够让她真正安定下来备考。离高考仅剩下几周时间，她拖着行李箱辗转来去，不知道何处才是她可以寄居的家……

老Thorgeir要远离冰岛乡村的老家去到Reykjavik老人屋去住。在那他碰上了儿时的好友Stella。没过多久Thorgeir就厌倦了那里的生活，于是伙同Stella偷了辆吉普，然后两人一起逃到Stella冰岛西北的老家。电影向我们提出了一个严肃的问题：当你不得不要割弃生活中一切有意义的东西的时候，生命对你还重要么？

桂林的某画展上，一群外宾对小希的画赞叹不止。小希的母亲就十分爱好画画，支持小希，但父亲不喜欢他画画。一次，小希被老画家翼来之发现，收他为徒。县文化馆馆长的儿子罗小飞在父亲的“教导”下画的“大批判”画要出版了，而小希在师傅指点下画的小猫却受了批斗。小希一气之下推出小猫，小猫弄翻了小飞家庆功宴的桌子，小飞毒死了小猫，小希难过地画出《群猫游戏图》，受到广泛赞扬。在大厅里，小画家们的画受到外宾喜爱，大家纷纷合影，只有小希还在画着。

第十二届全国优秀儿童文学奖的颁奖盛典，文坛大咖刘慈欣、刘震云、陈彦、阿来齐聚湖南长沙，“儿童文学巨匠”金波、曹文轩、汤素兰、蔡皋惊喜现身，共襄儿童文学盛举。何炅领衔主持，维嘉、吴昕重聚变装儿时经典角色，上演经典回忆杀！

Comedy fuses with science fiction in this quirky film about the chaos that ensues when an “elk” (in fact, a tall individual who wears a coat, does not speak, and has an elk’s head and antlers) emerges from the forest near a small town. Accepted by a family who interacts with him as if nothing is unusual, they initially shelter their guest from their neighbors. But not for long!

《守株待兔》这一集中，一个叫二愣子的农夫，在地里看到一只兔子撞到树桩上死了，从此，他不再下地干活，坐在树下等兔子。他不但没等来兔子，地里也颗粒无收。这个成语故事启示人们，天上掉馅饼不劳而获的事情是没有的。《凿壁偷光》讲述的是：匡衡爱读书，家里没钱供他，他到课堂外偷听。他没有钱买书，也借不到书，就跑去给有钱人家做苦工换书看。家里没钱买煤油，他只能躺在床上望书兴叹。一天，他发现墙缝中透过邻居家的灯光，他在墙上砸出一个小洞，从此，每晚他便可以借着这微弱的灯光刻苦研读了。还有“塞翁失马”，“名落孙山”，“半途而废”等等，每一个故事单独成篇。有的弘扬励志精神，有的开启心智，在尊重历史文化精华的基础上，适当地添加故事情节，增强作品观赏性，使之成为少年儿童喜闻乐见的影视版教科书。

在地底 在岩穴 在沙滩 不论是单身公寓 还是集体宿舍 这里 是它们所有的爱和智慧 这里 是它们抵御外敌的阵地 这里 是它们抗击严寒的温床 树枝石块 纤维唾液 就连废弃的蜘蛛网 也被那些神奇的建筑师们变成了遮风避雨的港湾 走进动物之家 走进它们的智慧 走进 奇妙的大自然吧~（@酸奶） 转自夏末秋字幕组

该剧改编自爱丁堡艺穗节备受赞誉的单人剧，讲述事业不顺的喜剧演员唐尼·邓恩（理查德·加德 Richard Gadd 饰）与女跟踪者玛莎（杰西卡·古宁 Jessica Gunning 饰）之间扭曲的关系，二人的生活因此面临分崩离析的危险。

该剧改编自爱丁堡艺穗节备受赞誉的单人剧，讲述事业不顺的喜剧演员唐尼·邓恩（理查德·加德 Richard Gadd 饰）与女跟踪者玛莎（杰西卡·古宁 Jessica Gunning 饰）之间扭曲的关系，二人的生活因此面临分崩离析的危险。

The Finnish film 'White Reindeer' is marketed in the USA and Britain as a horror movie, but that's not precisely accurate. This is a stark, moody film but not a scary one. It purports to be an authentic Lapp folktale about a woman named Pirita who turns into a white reindeer in order to feed upon men. 　　This story has elements of both the vampire and the werewolf legend, as well as the succubus. Apart from reindeer being native to Lapland, I can't imagine why the reindeer was chosen as the species for this folktale's version of the shape-changer legend. Bats and wolves are predators, and therefore scary. The reindeer is a domesticated herbivore that serves humans ... not very spooky, is it? In one sequence, the were-reindeer woman sprouts fangs. Actual reindeer don't have fangs, so why should these be part of her transformation? Female reindeer have antlers, so why doesn't Pirita sprout antlers? 　　Speaking of superstitions and myths: early in this film, a black cat scurries across the path of an approaching sledge, but the director gives this so little emphasis that it appears to have no significance. In Cornwall, it's considered *good* luck to have a black cat cross one's path, and this same thing is considered *bad* luck in America. Do Lapps have any superstitions concerning black cats? 　　Mirjami Kuosmanen, the actress who plays the central role in this film, is quite pretty ... but her performance as a native of northern Lapland is weakened by the fact that she is clearly wearing makeup. Due to the low production budget, we never actually see Pirita changing into the reindeer ... but the director cleverly gets round this by having his leading lady lunge towards the camera, then cutting to a shot of a reindeer in the same position. Still, I was hoping we would see a shot of a woman's shadow changing shape ... or a series of human footprints in the snow abruptly becoming hoof-marks. 　　The Lapp landscape in this movie is starkly beautiful and awesome but never frightening. The photography is excellent. There are two impressive dissolve shots involving flames, and a splendid montage sequence. I was extremely impressed by a night sequence over a bonfire. During the Midnight Sun sequences, there are two shots featuring a weird colonnade of white pillars: these appear to be artefacts of the Lapp culture, but we never learn what they are. A sequence in which a carved vertrebra dances magically across a shaman's drum has an eerie pagan power that made me think of Nijinsky's staging of 'The Rites of Spring'. 　　My one complaint about this film -- a minor grievance -- is that we never learn the time period in which the main action occurs. These Laplanders possess milled coins, a rifle, and loomed curtains. One sequence takes place at a prayer service that is clearly Christian, featuring a minister in geneva bands. Are we watching scenes in the twentieth century, or some earlier time? I'll rate this moody, compelling (but not frightening) film 8 out of 10. Oh, my deer!