以半剧情、半纪录方式刻画昆曲世界。片中展现了体现昆曲神韵的两出精彩折子戏──《烂柯山.痴梦》和《紫钗记.折柳阳关》，《痴梦》中的崔氏由著名昆剧艺术表演家张继青扮演，《折柳阳关》中的霍小玉和李益由苏州昆剧院的王芳和赵文林饰演，影片中同时融入了主角对于昆曲的赏析，及他们的日常生活情景、在苏昆剧院台前幕后的排戏场景。 In Breaking the Willow, tells the story of two Chinese women, of different dynasty & society, their personal link to a bejeweled Phoenix Tierra. Cui, a woman of humble background, who divorce her husband to marry again for comfort, who dreams her husband will gain title and bring the official Phoenix Tierra to honor her. One day her dream come true but is too late. Hsiao Yu, a beautiful songstress from a royal decent of the past dynasty, meets the First Scholar and falls in love. The day after their wedding, the husband is called for the frontier. The fallen Princess wears her Phoenix Tierra to bid him fare well poetry.

宋美龄，她是中国近代史上最具传奇色彩的女性，也是最活跃与最神秘的女性。随着她已离开这个纷扰的人间，过往的历史更加令人怀念。由中国台湾公视制作小组花费两年时间深入研究，走访两岸三地和美国，为这位跨世纪的传奇女性，留下珍贵的生命纪录！ 第一集：东方与西方 清末民初，中国与西方文明接触、冲突的年代，宋美龄风云际会地站在时代的浪头。她十岁即赴美当小留学生，饱受西方文化熏陶；二次世界大战，她赴美发表演说...... 第二集：奋起与挫败 宋美龄与蒋介石结婚后，1936年，西安事变惊爆中外，蒋介石遭张学良扣押，宋美龄的角色又是如何的？而抗战结束后，宋氏家族以权势谋私的行为，在当时贫弱的中国社会饱受抨击，宋美龄的角色也备受争议，成为她最大的负担......。 第三集：老干与新枝 1988年，蒋经国病逝，宋美龄对国民党推举李登辉曾经表达过不同的意见，却不被采纳，因此她淡出政坛，长居美国，不再接受媒体采访，也拒绝出版回忆录，一切是非功过，任由世人评说......

张学良一生饱受各种抨击，经历过亲师挚友在阵前成仇的往事，导致自己被终生软禁。张学良将在《世纪行过》节目中畅诉初衷，勾勒他这“引颈就戮”的大快人生…… 第一集：白山黑水（少帅忆儿时东北、从「马贼」到「奉天王」的张作霖、与孙中山、师友郭松龄） 第二集：国难家仇（爱国狂、我是中国人、父亲之死、东北易帜、918的不抵抗、上海戒毒） 第三集：西安事变（反对内战、安内攘外之争、密会周恩来、华清池兵谏、感召金石负荆请罪、山居生涯、东北骨牌） 第四集：真自由（移送台湾、228事件、与蒋介石的骨肉仇雠、信基督－真自由、四弟张学思、横眉众指、燕雀鸿鹄）

2006 film by Thomas Johnson

舒浩仑的《乡愁》是一部关于上海的私人影像记忆，记录了一个将要拆迁的静安区石库门小区大中里的当下和往昔，片中出现的人物都是和导演生活记忆息息相关的亲人和邻居，舒浩仑导演以平实的心态记录了作为宁波移民的祖孙三代在这个城市变迁过程里经历的一切，在这些耄耋老人的回忆里我们甚至可以感到我们自己的童年，这部记录片告诉了我们一个方法论，怎样在一个小的题材里反映城市的历史、文化和人文境遇。

From the pianist Piotr Anderszewski's first comments in 'Unquiet Traveller' ('Voyageur Intranquille'), a new documentary film that follows him on a concert tour by train through his native Poland, you would think that this fiercely individual artist found being a pianist an agonizing impossibility. In a winter coat and a hat with thick wool lining, Mr. Anderszewski walks solitarily along snow-covered train tracks at a railroad station, as we hear his reflections in a voice-over, in English. 'When I play with orchestra,' he says, 'I sometimes tell myself I'll never play a concerto again. Too many artistic compromises.' Yet, he continues, when confronted with 'the extreme loneliness of the recital, the heroism and also the cruelty involved, I sometimes think that I 'l never do recitals ever again. I'll only make recordings.' Then again, he says, in the recording studio, when he is free to repeat the work as often as he desires, the possibility of always doing better creates another kind of terrible pressure. 'In fact,' he concludes, 'the real, the ultimate temptation would be to stop everything, lie down, listen to the beat of my heart and quietly wait for it to stop.'. . . Mr. Anderszewski, who speaks Polish, Hungarian, French and English in the film, is shown during a recording session, playing and conducting Beethoven's First Piano Concerto with the Deutsche Kammerphilharmonie Bremen. On the concert totour, he travels in a specially appointed train car, complete with a kitchen, a dining area and a place for his Steinway grand, which we see being lifted onto the train by movers. In one scene he hosts a New Year's Eve dinner party on board for friends. Early in the film, right after Mr. Anderszewski's confession about his frustrations with the pianist's profession, he is shown in concert playing the lively Gigue from Bach's Partita No. 1. Though he takes a brisk, nearly breathless tempo, the playing is so articulate that all the notes come through. Sometimes he really thumps out the bass notes, with clanking tone. Yet there is such zest in the playing over all that the effect is wonderfully ambiguous like dangerous whimsy. There is something extreme in this performance, exactly the quality that gave me reservations about Mr. Anderszewski's early work, which was unquestionably brilliant and intensely expressive but strong-willed and feisty. Maybe he has mellowed or maybe I have gained insight into his approach. But in recent years I have found almost everything he does riveting. --New York Times, Anthony Tommasini, July 31, 2009

An in-depth look at the animal rights movement and the FBI's recent declaration calling them the number one domestic terrorist threat to the United States.