故事讲述了农村少年封印，告别了依依不舍的恋人张婷，与发小胖子带着对未知世界的憧憬与渴望来到南京打拼的故事。辗转之中在同乡郭权的介绍下，两人加入水产行业，原本想通过自己的努力大干一番，然而行业里的黑幕、地方势力的打压以及朋友之间的误解却在不断为他们设置障碍。友情、亲情、爱情在利益面前又该如何抉择？在经历重重磨难之后，封印坚守了自己的底线，靠诚信经营赢来了大家的理解和支持，为自己迎来了广阔的市场空间，并带领家乡人一起走上共同富裕的道路。

　　1937年12月，日军攻克南京，制造了“南京大剧照剧照(2张) 屠杀”惨案。为实现“三个月亡华”的野心，日军进攻武汉。我军地下党员、国军中校古剑锋在执行刺杀冈村宁次的任务中牺牲。其妻白浪受组织委派，带队营救从南京逃到武汉的握有南京大屠杀影像资料的两个美国医生，经过与日军特务机关生死较量，圆满完成任务。白浪小队又先后接受了除掉日军驻武汉总司令并夺回国宝、粉碎日军与国民党投降派谈判阴谋、炸毁日军大规模杀伤性武器库、营救美军飞行员、勇闯日军101实验所等任务。白浪小分队团结抗日力量，与日军驻武汉特务机关展开了一次又一次的生死较量，最终全部为国捐躯......by:yakubd.cc

　　Journalism icon Gay Talese reports on Gerald Foos, the Colorado motel who allegedly secretly watched his guests with the aid of specially designed ceiling vents, peering down from an "observation platform" he built in the motel's attic.

　　《青年理工工作者生活研究所》第二季尝试用新工具、新数据、新研究方法来分析和探寻当下时代出现的新问题，这里面既包括被反复讨论的时代话题，也有结合当下大众关注的热点话题。通过呈现趣味&科学性兼具的学科体系，邀请专业学者、从业者共同参与其中，尝试对当代生活提供确定性研究。

　　The Turtles experience outer space and alien life for the first time.

　　本片由韩国知名导演朴树苗拍摄,剧情采用非常悬疑以及古怪搞笑的风格在里头!讲诉了一对男女到小镇旅游,住在美丽的女房东家里!而女房东是一个爱钱并且好色的女人.经常偷听男女房间的声音!直到有一天,三个人闯入了这对男女的生活里,告诉他们!这个女房东其实是个女鬼.....

　　A burned-out cop from the midwest, Colton Riggs, finds his boring, Maltese lifestyle turned upside down when he suddenly finds himself catapulted into a web of high-stakes international espionage.

　　Voice 1 (male "professional announcer" type): This neighborhood(1) was made for the wretched dignity of the petty bourgeoisie, for respectable occupations and intellectual tourism. The sedentary population of the upper floors was sheltered from the influences of the street. This neighborhood has remained the same. It was the strange setting of our story, where a systematic questioning of all the diversions and works of a society, a total critique of its idea of happiness, was expressed in acts.　　These people also scorned "subjective profundity". They were interested in nothing but an adequate and concrete expression of themselves.　　Voice 2 (Debord, monotone): Human beings are not fully conscious of their real life - usually groping in the dark; overwhelmed by the consequences of their acts; at every moment groups and individuals find themselves confronted with results they have not wished.　　Voice 1: They said that oblivion was their ruling passion. They wanted to reinvent everything each day; to become the masters and possessors of their own lives.　　Just as one does not judge a man according to the conception he has of himself, one cannot judge such periods of transition according to their own consciousness; on the contrary, one must explain the consciousness through the contradictions of material life, through the conflict between social conditions and the forces of social production.　　The progress achieved in the domination of nature was not yet matched by a corresponding liberation of everyday life. Youth passed away among the various controls of resignation.　　Our camera has captured for you a few aspects of a provisional microsociety.　　The knowledge of empirical facts remains abstract and superficial as long as it is not concretized by its integration into the whole "” which alone permits the supersession of partial and abstract problems so as to arrive at their concrete essence, and implicitly at their meaning.　　This group was on the margins of the economy. It tended toward a role of pure consumption, and first of all the free consumption of its time. It thus found itself directly engaged in qualitative variations of everyday life but deprived of any means to intervene in them.　　The group ranged over a very small area. The same times brought them back to the same places. No one went to bed early. Discussion on the meaning of all this continued...　　Voice 2: "Our life is a journey "” In the winter and the night. "” We seek our passage..."�　　Voice 1: The abandoned literature nevertheless exerted a delaying action on new affective formulations.　　Voice 2: There was the fatigue and the cold of the morning in this much-traversed labyrinth, like an enigma that we had to resolve. It was a looking-glass reality through which we had to discover the potential richness of reality.　　On the bank of the river evening began once again; and caresses; and the importance of a world without importance. Just as the eyes have a blurred vision of many things and can see only one clearly, so the will can strive only incompletely toward diverse objects and can completely love only one at a time.　　Voice 3 (young girl): No one counted on the future. It would never be possible to be together later, or anywhere else. There would never be a greater freedom.　　Voice 1: The refusal of time and of growing old automatically limited encounters in this narrow, contingent zone, where what was lacking was felt as irreparable. The extreme precariousness of the means of getting by without working was at the root of this impatience which made excesses necessary and breaks definitive.　　Voice 2: One never really contests an organization of existence without contesting all of that organization's forms of language.　　Voice 1: When freedom is practiced in a closed circle, it fades into a dream, becomes a mere representation of itself. The ambiance of play is by nature unstable. At any moment "ordinary life"� can prevail once again. The geographical limitation of play is even more striking than its temporal limitation. Any game takes place within the contours of its spatial domain. Around the neighborhood, around its fleeting and threatened immobility, stretched a half-known city where people met only by chance, losing their way forever.　　The girls who found their way there, because they were legally under the control of their families until the age of eighteen, were often recaptured by the defenders of that detestable institution. They were generally confined under the guard of those creatures who among all the bad products of a bad society are the most ugly and repugnant: nuns.　　What usually makes documentaries so easy to understand is the arbitrary limitation of their subject matter. They describe the atomization of social functions and the isolation of their products. One can, in contrast, envisage the entire complexity of a moment which is not resolved into a work, a moment whose movement indissolubly contains facts and values and whose meaning does not yet appear. The subject matter of the documentary would then be this confused totality.　　Voice 2: The era had arrived at a level of knowledge and technical means that made possible, and increasingly necessary, a direct construction of all aspects of a liberated affective and practical existence. The appearance of these superior means of action, still unused because of the delays in the project of liquidating the commodity economy, had already condemned aesthetic activity, whose ambitions and powers were both outdated. The decay of art and of all the values of former mores had formed our sociological background. The ruling class's monopoly over the instruments we needed to control in order to realize the collective art of our time had excluded us from a cultural production officially devoted to illustrating and repeating the past. An art film on this generation can only be a film on its absence of real creations.　　Everyone unthinkingly followed the paths learned once and for all, to their work and their home, to their predictable future. For them duty had already become a habit, and habit a duty. They did not see the deficiency of their city. They thought the deficiency of their life was natural. We wanted to break out of this conditioning, in quest of another use of the urban landscape, in quest of new passions. The atmosphere of a few places gave us intimations of the future powers of an architecture it would be necessary to create to be the support and framework for less mediocre games. We could expect nothing of anything we had not ourselves altered. The urban environment proclaimed the orders and tastes of the ruling society just as violently as the newspapers. It is man who makes the unity of the world, but man has extended himself everywhere. People can see nothing around them that is not their own image; everything speaks to them of themselves. Their very landscape is alive. There were obstacles everywhere. There was a cohesion in the obstacles of all types. They maintained the coherent reign of poverty. Everything being connected, it was necessary to change everything by a unitary struggle, or nothing. It was necessary to link up with the masses, but we were surrounded by sleep.　　Voice 3: The dictatorship of the proletariat is a desperate struggle, bloody and bloodless, violent and peaceful, military and economic, educational and administrative, against the forces and traditions of the old world.　　Voice 1: In this country it is once again the men of order who have rebelled. They have reinforced their power. They have been able to aggravate the grotesqueness of the ruling conditions according to their will. They have embellished their system with the funereal ceremonies of the past.　　Voice 2: Years, like a single instant prolonged to this point, come to an end.　　Voice 1: What was directly lived reappears frozen in the distance, fit into the tastes and illusions of an era, carried away with it.　　Voice 2: The appearance of events that we have not made, that others have made against us, now obliges us to be aware of the passage of time, its results, the transformation of our own desires into events. What differentiates the past from the present is precisely its out-of-reach objectivity; there is no more should-be; being is so consumed that it has ceased to exist. The details are already lost in the dust of time. Who was afraid of life, afraid of the night, afraid of being taken, afraid of being kept?　　Voice 3: What should be abolished continues, and we continue to wear away with it. We are engulfed. We are separated. The years pass and we haven't changed anything.　　Voice 2: Once again morning in the same streets. Once again the fatigue of so many similarly passed nights. It is a walk that has lasted a long time.　　Voice 1: Really hard to drink more.　　Voice 2: Of course one might make a film of it. But even if such a film succeeds in being as fundamentally disconnected and unsatisfying as the reality it deals with, it will never be more than a re-creation "” poor and false like this botched traveling shot.　　Voice 3: There are now people who pride themselves on being authors of films, as others were authors of novels. They are even more backward than the novelists because they are unaware of the decomposition and exhaustion of individual expression in our time, ignorant of the end of the arts of passivity. They are praised for their sincerity since they dramatize, with more personal depth, the conventions of which their life consists. There is talk of the liberation of the cinema. But what does it matter to us if one more art is liberated through which Tom, Dick or Harry can joyously express their slavish sentiments? The only interesting venture is the liberation of everyday life, not only in the perspectives of history but for us and right away. This entails the withering away of alienated forms of communication. The cinema, too, has to be destroyed.　　Voice 2: In the final analysis, stars are created by the need we have for them, and not by their talent or lack of talent or even by the film industry or advertising. Miserable need, dismal, anonymous life that would like to expand itself to the dimensions of cinema life. The imaginary life on the screen is the product of this real need. The star is the projection of this need.　　The images of the advertisements during the intermissions are more suited than any others for evoking an intermission of life.　　To really describe this era it would no doubt be necessary to show many other things. But what would be the point?　　Better to grasp the totality of what has been done and what remains to be done than to add more ruins to the old world of the spectacle and of memories.　　1. This film, which evokes the lettrist experiences at the origin of the situationist movement, opens with shots of the Paris district frequented by the lettrists in the early 1950s.

　　“西安事变”促进了国共两党的第二次合作。1937年，中共中央派周恩来副主席前往南京与蒋介石商谈联合抗日的具体事宜。为保证会谈工作顺利进行，中共中央联络部副部长张智彤以中共特派员身份先赴南京来做准备工作，他领取了与蒋介石直接联络线路的密电码。党中央领导要求边疆区保卫副局长李大欣带领一支精干的小分队为张智彤保驾护航。　　青岛日本特务机关长官原野即收到了在中共内部卧底的3号间谍的情报，他从监狱放出死刑犯龙旗和余虹，免去死刑，派他俩去南京执行“天狗吞月”计划——刺杀张智彤，再嫁祸国民党，破坏国共合作。中共方面接到了在日本特务机关卧底的28号同志密码，得知自己队伍中有汉奸，派出以贾腾示为首的武装小分队暗里保护张智彤。同时，国民党军统局也收到了打入日方的间谋密电，便派出以段处长为首的特别行动组，偕同中共粉粹“天狗吞月”计划。出人意料，龙旗与余虹发生火并，原路对龙旗生疑，派4号间谍江洋小姐潜入南京暗中监视，要她杀了张智彤后再干掉龙旗，中共得到28号同志急电得知日本4号间谋在武装小分队中，不断给龙旗提供张智彤行踪。　　张智彤圆满完成了合作抗日的谈判任务，国民党政府部长郑立仁为他举行告别宴会，原野新的秘书美田贞突然来到南京，秘密告诉双方，日本3号间谍要在宴会大楼外的停车场上刺杀张智彤，原来美田贞子是中共的28号同志。龙旗化妆成神父，把枪架在宴会大楼对面的钟楼上，对准楼门，等待宴会结束。张智彤在郑立仁等军政委员的陪同下，走出宴会大楼，突然一颗子弹从钟楼上射出，击中躲在车后要向张智彤开枪的贾腾云的胸膛。原来贾腾云是日本3号间谍，而龙旗才是打入军统多年的中共特工。可不幸的是，双栖间谍龙旗还是遭到了日本特务的暗杀，壮烈牺牲。

　　Set in 1941, a drama about Canada's World War II policies toward Japanese-heritage citizens as told through the saga of a middle-class family forced to leave their successful Vancouver boating business, and relocate in a small, economically depressed mining town in the British Columbia interior, immediately following the bombing of Pearl Harbor.

　　罗人友剧中饰演警察一角　　李奎翰饰演与罗人友对立的最大黑帮反派一角　　此剧讲述了弟弟被黑帮欺负，哥哥为弟弟孤军奋战报仇的故事

　　60代になってから世界に見いだされたピアニスト、フジコ・ヘミングのドキュメンタリー。日本人ピアニストの母とロシア系スウェーデン人のデザイナーである父との間に生まれ、母の手ほどきによって5歳からピアノを習いはじめたフジコ。やがて演奏家として高い評価を受けるようになるが、大事なリサイタルの前に聴力を失うという大きなアクシデントに見舞われるなど、数奇な人生を歩んできた。1999年にNHKで放送されたドキュメント番組によって日本でも広く知られるようになったフジコの、初のドキュメンタリー映画となる今作では、ワールドツアーで世界を巡って演奏する姿や、自宅で愛する猫に囲まれて過ごす時間など、公私にわたるフジコの素顔に密着。父との別離、厳しい母のレッスン、ハーフへの差別、貧しい留学生活や聴力喪失など、数々の苦難に見舞われても、夢をあきらめずに進んだフジコの人間性と音楽に迫る。