走进黄帝时代追述文明源起陕西继《大秦岭》、《望长安》、《陕北启示录》后又一力作千百年的时光流转，黄帝已经从一个传说中的部族领袖，演化成了一种信仰，成为文化凝聚、文明传承不可或缺的磁石，更构建了华夏儿女精神皈依的圣殿。纪录片《黄帝》的投资与摄制，弥补了现阶段黄帝考古发现的遗憾，依据相关历史典籍和相近时期的考古实证，探寻以“黄帝”为集成代表的先祖们开创五千年文明的那个时代。 《黄帝》共六集，分别为《出世》、《北融》、《南合》、《治世》、《寻道》、《永生》。该片从策划到拍摄历时两年，摄制采访了全国40多个城市、52家博物馆、17家研究机构、百余位专家学者，通过大量史实资料与艺术的融合再现，全景式深入展现了黄帝时代中华文明诞生的情形，并在五千年文明的追述回望中，集中凸显了中华民族源源不断的创新精神。 　　制作精良宏大叙事促进中华民族精神家园的构建值得一提的是，《黄帝》摄制团队阵容强大，由中央新闻电影纪录制片厂主导摄制，著名纪录片导演周兵执导，《故宫》、《敦煌》原班人马打造， 以大题材、大导演、大场面、大文明”等为特点，以“依傍史传、凝练成景、叙述相融、凸显故事、解构人文”为表现手段，第一次以纪录片的形式向人文初祖致敬，第一次用当代视角和影像技术对中华文明的起源进行全方位描摹和全景式解读。尤其是在中华文化伟大复兴的背景下，《黄帝》的摄制，不仅展现了黄帝一生纵横黄河流域、创造无数文治武功的故事，更集中阐释中华民族的“天人合一、开拓创新、团结凝聚、以民为本”的精神，对中华民族精神家园的构建和当下的文化认同、文化自信、文化自强有着积极的现实意义。

Ⅰ. "Sleepy" On the way home from work, the fierce anger of the road rage transformed into a huge monster, devouring the roads and buildings. Hurry home. Ⅱ. "Forgotten" Forget. Here. There. Everything. People, like ants, circulate endlessly.

中国武术以她的源远流长、博大精深，堪称是中国传统文化的精髓，被称之为国宝，让世人羡慕。渐起人气的《体育人间》栏目的编导们无不揣摩该题材纪录片的创作。2001年初，由赵邈、赵聪兄弟俩扛起摄像机，开始了以描述当今武术人生活状况的20集纪录片《今风细语江湖》的漫长创作旅程，500个日日夜夜的创作时间里，他们经历了早起4时在北疆拍日出，更有露宿古刹名寺的悬弘之夜。相继走遍了40多个省市地区，与50多个武术基层组织及习武者，对他们进行了采访、畅谈、跟拍、偷拍等制作方式和手段，面对浩如烟海的古今武术文化，在以武打为主题的电影电视剧狂轰烂炸电视屏幕的今天，针对无数个传说、戏说，该片编导们潜心研究、认真选择，最终选择了以真人实事为节目的主要脉路，以真实为原则，采用不停机、不剪切等方式全景纪录揭示武术搏击的真实过程，为电视机前的广大武术爱好者打造了一出真实生动的武术大片。 <BR><BR>　　《初篇》是本片的概述，为我们打开了20集武术纪录片的帷幕，我们从中可以俯视全片主要内容和立意，从更高更全面的角度为我们拉开了本片主要人物的一角，使我们能够在欣赏片子的同时，感受武术与中国传统文化的内在关系

成书于二千多年前的《黄帝内经》是本什么样的书？ 　　被誉为中国奉献给世界的三 大奇书（另外两部为《易经》与《道德经》）之一 　　唐代鉴真东渡日本，带去《黄帝内经·太素》。这本书，至今还供奉在日本的皇家寺院中，奉为国宝。 　　北宋时，高丽国进献《黄帝内经·灵枢》，要求以此交换中国历代史等书。苏轼五次奏本反对，皇帝仍坚持以《册府元龟》等书换回《黄帝内经》。 　　21世纪现代医学提出的生态医学等观点，竟然与二千多年的《黄帝内经》相同…… 　　如果说，通过一部纪录片便能了解中国传统文化博大、精深的思想，那么，这就是纪录片《黄帝内经》。 　　如果说，通过一部纪录片便能破译中国传统文化的核心机密，那么，这还是纪录片《黄帝内经》。 　　如果说，通过一部纪录片便能了解中国独特的养生思想，那么，这仍然是纪录片《黄帝内经》。 　　今天西方发达国家刚刚兴起的如医学地理学、医学心理学、气象医学、时间医学等先进学科，却在2500年前的《黄帝内经》中得到了极为完善的表述。当今世界上，还找不到一部着作能像《黄帝内经》这样，将哲学、医学、养生学、地理学、天文学、气象学、数学、心理学、甚至美学、乐理等等学科融会贯通、凝聚一体；还难以找到一部像《黄帝内经》这样独一无二的、天才的、博大精深的生命科学巨着。 　　这是一部不朽的奇书，至今仍在指导着中医理论研究和临床实践。 　　通过这部着作我们将会知道，人可以自然地度过百岁，长寿不是每天摄取多少维生素多少蛋白质，五脏不是解剖学的五脏，精神的力量何等巨大……重要的是，我们将学会一种独特的思维，一种精妙无比的思维，你可以在任何领域运用这种思维。 　　这是另一种思维，另一种生命表述，另一种方法论，另一种文化宝典。 　　本片的全部作为，就是使《黄帝内经》这部天书通俗易懂。为此，本片涉及了大量中国历史、医史，收集了大量历史故事和珍贵文物，从远古，到伏羲、神农、黄帝，到夏商周秦汉唐宋元明清，使深奥的理论通俗化趣味化。除了关照对中国传统文化感兴趣的观众外，我们还针对中医爱好者、中医学子，精心挑选了八十多个古代医案，令本片更加妙趣横生。同时，我们采访了数十位当今中国第一流中医专家，可令中医从业人员大大获益。 　　作为中国人，我们十分幸运，因为我们有《黄帝内经》，这是我们伟大的祖先传给我们的。 　　我们的祖先怀着对后世子孙的无限关爱留下了《黄帝内经》； 　　我们怀着对祖先无比的崇敬、对当代人民以及后世子孙的无限关爱，将电视图书《黄帝内经》呈现给世人。

故事讲述公元前二千七百多年前，以轩辕为首领的轩辕氏部族、以炎帝为首的神农氏部族以及炎帝大将刑天和蚩尤等之间的爱恨情仇。

罗鹏在送外卖的过程中，遭遇了一系列不幸，包括撞破上司与未婚妻的私情，以及被上司羞辱并丢掉工作。然而，他的外卖箱却意外成为了连接现代与古代的时空之门。罗鹏通过外卖箱向古代输送现代物资，帮助了古代的女将军木兰解决了一系列危机，包括干旱和匈奴的入侵

一个女人，和原本的恋人（是个西班牙佛朗哥政权时代的反对青年 受到迫害）约好逃往法国，却意外没有成功，女人却因为在逃亡路上遇到调音师而和调音师结了婚；三年后，这个青年出现在女人家里，女人把他安排住在家里的地下室，这个浪漫主义者（青年对女人是一见钟情，起始与女人在聚会上随手弹起的一段曲子）于是在这个地下室一直住下，直到老去

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).

2024 en banlieue parisienne : Suzanne, grand-mère addict à la technologie, ne parvient pas à se remettre de la mort de son mari Edouard. Un jour elle télécharge l’appli “Au jour d’aujourd’hui” qui permet de “retrouver vos êtres chers.” Edouard revient, mais n’est plus tout à fait le même.

“爱咬耳朵的女人” 导演：增村保造 　　供职于银座夜总会的渔家女纪美（若尾文子 饰）青春靓丽，她凭借狡黠的智慧周转各色男人中间，骗尽感情与金钱。当富家公子正巳（川口浩 饰）出现在纪美面前时，这个一向精明的女人似乎也落入了感情漩涡…… 　　“高价强行推销的女人” 导演：市川昆 　　畅销作家三原靖（船越英二 饰）无法忍受现有的生活，他独自出走，来到湘南的海边。在三原自杀之际，一个神秘的女子出现在他的面前。这个名叫土砂爪子（山本富士子 饰）女人自称来海边吊唁去世的丈夫。两个陌生之人的人生出现了交集，但在爪子美丽的面孔背后，似乎又隐藏着什么秘密…… 　　“忘记爱情的女人”导演：吉村公三郎 　　京都某旅馆的老板娘三津（京マチ子 饰）总给人不通人情、只认钱财的感觉，连好友也认为她从来不懂爱情。但曾经身为艺伎的三津，却的确经历过刻骨铭心的爱恋……