介绍：Lekar Hum Deewana Dil (transl.Taking along our crazy hearts) is a 2014 Hindi language romantic drama film that stars Armaan Jain and Deeksha Seth. Jointly produced by Saif Ali Khan, Dinesh Vijan and Sunil Lulla under the banner of Eros International, Maddock Films and Illuminati Films, it is the debut directorial venture of Arif Ali, who was the assistant writer of the film Aahista Aahista, written by his brother Imtiaz Ali. The film has music scored by A. R. Rahman. The film was released on 4 July 2014

介绍：一个上了年纪的失业小丑回到他的家乡，在醉酒昏迷中度过余生但当他对小丑的热情被当地业余马戏团重新唤醒时，他发现自己的生活又重新变得有意义。

介绍：伯格曼早期作品，讲三个孕妇在产房中的一天，剖析了她们的内心世界影片拍得很写实，有点纪录片的味道。本片获得戛纳影展最佳导演奖，四位女主角也共同分享了戛纳影展的最佳女主角奖。

介绍：Two differences between this Austrian version and the generally available American version are immediately obvious they differ both in their length and in the language of the intertitles. The American version is only 1,883 metres long - at 18 frames per second a difference of some 7 minutes to the Austrian version with 2,045 metres. Whereas we originally presumed only a negligible difference, resulting from the varying length of the intertitles, a direct comparison has nevertheless shown that the Austrian version differs from the American version both in the montage and in the duration of individual scenes. Yet how could it happen that the later regional distribution of a canonical US silent film was longer than the original version　　The prevalent American version of Blind Husbands does not correspond to the version shown at the premiere of 1919. This little-known fact was already published by Richard Koszarski in 1983. The film was re-released by Universal Pictures in 1924, in a version that was 1,365 feet (416 metres) shorter. At 18 frames per second, this amounts to a time difference of 20 minutes! Titles were altered, snippets of action removed and at least one major scene taken out entirely, where von Steuben and Margaret visit a small local chapel. (Koszarski)　　From the present state of research we can assume that all the known American copies of the film derive from this shortened re-release version, a copy of which Universal donated to the Museum of Modern Art in 1941. According to Koszarski the original negative of the film was destroyed sometime between 1956 and 1961 and has therefore been irretrievably lost. This information casts an interesting light on the Austrian version, which can be dated to the period between the summer of 1921 and the winter of 1922. Furthermore, the copy is some 200 metres longer than the US version of 1924. If one follows the details given by Richard Koszarski and Arthur Lennig, this means that, as far as both its date and its length are concerned, the Austrian version lies almost exactly in the middle between the (lost) version shown at the premiere and the re-released one.A large part of the additional length of the film can be traced to cuts that were made to the 1924 version in almost every shot. Koszarski describes how the beginning and the end of scenes were trimmed, in order to speed up the film. However, more exciting was the discovery that the Austrian version contains shots that are missing in the American one - shotscountershots, intertitles - and furthermore shows differences in its montage (i.e. the placing of the individual shots within a sequence). All this indicates that Die Rache der Berge constitutes the oldest and most completely preserved material of the film.

介绍：该电视改编自英国作家查尔斯·狄更斯的经典同名作品《圣诞颂歌》一个痛恨圣诞节的老头通过几个圣诞鬼魂看到了他的过去和现在，在圣诞鬼魂的指引下，他懂得了圣诞节的真谛。他也意识到，自己的将来就把握在自己的手上，弃恶从善就要从改变自身的行为开始。　　Made for television version of the Charles Dickens classic of the same name. An old man who hates Christmas is taught the true meaning and spirit of Christmas by ghosts who show him his own past and present. He is also shown what the future holds for him if he doesn't change his behavior.  Written by Jason Ihle