贵族青年拉夫列茨基（列昂尼德·库拉金 Leonid Kulagin 饰）对少将之女瓦尔瓦拉（贝娅塔·蒂希基维茨 Beata Tyszkiewicz 饰）一见钟情，两人认识没多久就携手步入了婚姻的殿堂。哪知道瓦尔瓦拉生性风流，婚后迅速打入了巴黎的社交场中，成为了交际花，她的沾花惹草让拉夫列茨基感到非常的痛苦。
拉夫列茨基离开了家，回到了自己的祖国，在那里，他邂逅了名为莉莎（伊琳娜·库普彻柯 Irina Kupchenko 饰）的美丽少女，两人双双坠入情网之中。拉夫列茨基在报纸上看到了瓦尔瓦拉的讣告，于是，他决定和莉莎结婚。可是，就在两人的幸福生活刚刚开始之际，瓦尔瓦拉竟然出现在了他们的面前，原来讣告竟然是伪造的，一切都是瓦尔瓦拉为了引蛇出洞设下的圈套。

A mentally disabled man gets help from a sociopath when he tries to reunite with his dying father, who years earlier disowned him.

A portrait of a Russian person composed of many images. The film's heroes are common men who answer with their lives the universal questions: what is the purpose of our existence, what is happiness, what is it to be a patriot.

格雅（朱莉娅·维斯托斯卡亚 Yuliya Vysotskaya 饰）出生于一座破败荒芜的矿镇之中，因为其酷似摩纳哥王妃的绝美样貌而成为了当地家喻户晓的名人。从小，格雅就希望能够成为散发着耀眼光芒的模特，走上T台，然而，在拍摄了几部广告之后，她开始明白，只待在这个镇子里，自己将永远无法实现理想。
就这样，格雅离开了家乡，来到了莫斯科，希望能够在此实现自己的野心。然而，让她没有想到的是，在家乡拥有高超人气的她，在莫斯科这个繁华的大都市里，只不过是一个默默无闻四处遭人轻视嫌弃的小角色而已。在此之后，格雅做各种各样的工作，但始终没有忘记埋藏在心底的梦想，终于，一个宝贵的机会将格雅一举送上了杂志封面，但很快，格雅就发现，一切都开始走上失控的轨道。

Мальчик мечтает о голубе - рисует его на стене, часами наблюдает птиц в небе. Но на рынке за голубя просят 100 рублей! Мальчик выменивает птицу мечты на альбом с отцовскими марками и наступает миг счастья - со своей крыши мальчик выпускает в облака своего голубя! Но голубь не знал, что у него новый хозяин и вернулся в родную голубятню к барыге. Мальчик бежал за своим голубем через весь город, но дворовый закон суров: "Выкуп!"

　　俄国契诃夫作于1897年。乡绅万尼亚二十五年中放弃个人幸福，与外甥女索尼雅辛勤经营庄园，供养妹夫谢列布利雅可夫教授。但他终于发现妹夫只是个华而不实的庸才，他于激怒中枪击妹夫，幸未击中。最后在友人劝解下不得不与妹夫言归于好。（from 百度百科）

　　俄国契诃夫作于1897年。乡绅万尼亚二十五年中放弃个人幸福，与外甥女索尼雅辛勤经营庄园，供养妹夫谢列布利雅可夫教授。但他终于发现妹夫只是个华而不实的庸才，他于激怒中枪击妹夫，幸未击中。最后在友人劝解下不得不与妹夫言归于好。（from 百度百科）

Act I

Act one begins with Olga (the eldest of the sisters) working as a teacher in a school, but at the end of the play she is made Headmistress, a promotion she had no interest in. Masha, the middle sister and the artist of the family (she was trained as a concert pianist), is married to Feodor Ilyich Kulygin, a schoolteacher. At the time of their marriage, Masha, younger than he, was enchanted by what she took to be wisdom, but seven years later, she sees through his pedantry and his clownish attempts to compensate for the emptiness between them. Irina, the youngest sister, is still full of expectation. She speaks of her dream of going to Moscow and meeting her true love. It was in Moscow that the sisters grew up, and they all long to return to the sophistication and happiness of that time. Andrei is the only boy in the family and the sisters idolize him. He is in love with Natalia Ivanovna (Natasha), who is somewhat common in relation to the sisters and suffers under their glance. The play begins on the first anniversary of their father's death, but it is also Irina's name-day, and everyone, including the soldiers (led by the gallant Vershinin) bringing with them a sense of noble idealism, comes together to celebrate it. At the very close of the act, Andrei exultantly confesses his feelings to Natasha in private and asks her to marry him.
Act II

Act two begins about 21 months later with Andrei and Natasha married with their first child (offstage), a baby boy named Bóbik. Natasha is having an affair with Protopopov, Andrei's superior, a character who is mentioned but never seen onstage. Masha comes home flushed from a night out, and it is clear that she and her companion, Lieutenant-Colonel Vershinin, are giddy with the secret of their mutual love for one another. Little seems to happen but that Natasha manipulatively quashes the plans for a party in the home, but the resultant quiet suggests that all gaiety is being quashed as well. The play turns on such subtle, lifelike touches. Tuzenbach and Solyony declare their love for Irina.
Act III

Act three takes place about a year later in Olga and Irina's room (a clear sign that Natasha is taking over the household as she asked them to share rooms so that her child could have a different room). There has been a fire in the town, and, in the crisis, people are passing in and out of the room, carrying blankets and clothes to give aid. Olga, Masha and Irina are angry with their brother, Andrei, for mortgaging their home, keeping the money to pay off his gambling debts and conceding all his power to his wife. However, when faced with Natasha's cruelty to their aged family servant Anfisa, Olga's own best efforts to stand up to Natasha come to naught. Masha, alone with her sisters, confides in them her romance with Vershinin ("I love, love, love that man."). At one point, Kulygin (her husband) blunders into the room, doting ever more foolishly on her, and she stalks out. Irina despairs at the common turn her life has taken, the life of a schoolteacher, even as she rails at the folly of her aspirations and her education ("I can't remember the Italian for 'window'.") Out of her resignation, supported in this by Olga's realistic outlook, Irina decides to accept Tuzenbach's offer of marriage even though she does not love him. Chebutykin drunkenly stumbles on and smashes a clock belonging to the sister's and Andrei's mother, whom he loved. Andrei gives vent to his self-hatred, acknowledges his own awareness of life's folly and his disappointment in Natasha's character, and begs his sisters' forgiveness for everything.
Act IV

In the fourth and final act, outdoors behind the home, the soldiers, who by now are friends of the family, are preparing to leave the area. A flash-photograph is taken. There is an undercurrent of tension because Solyony has challenged the Baron (Tuzenbach) to a duel, but Tuzenbach is intent on hiding it from Irina. He and Irina share a heartbreaking delicate scene in which she confesses that she cannot love him, likening her heart to a piano whose key has been lost. Just as the soldiers are leaving, a shot is heard, and Tuzenbach's death in the duel is announced shortly before the end of the play. Masha has to be pulled, sobbing, from Vershinin's arms, but her husband willingly, compassionately and all too generously accepts her back, no questions asked. Olga has reluctantly accepted the position of permanent headmistress of the school where she teaches and is moving out. She is taking Anfisa with her, thus rescuing the elderly woman from more of Natasha's blunt cruelties. Irina's fate is uncertain but, even in her grief at Tuzenbach's death, she wants to persevere in her work as a teacher. Natasha remains as the chatelaine, in charge and in control—of everything. ("What is this fork doing here?" Natasha hollers.). Andrei is stuck in his marriage with two children, the only people that Natasha truly dotes on. As the play closes, the three sisters stand in a desperate embrace, gazing off as the soldiers depart to the sound of a band's gay march. As Chebutykin sings "Ta-ra-ra-boom-di-ay" to himself, Olga's final lines call out for an end to the confusion all three feel at life's sufferings and joy: "If we only knew… If we only knew."

The true story is of Ivan Sanchin, the KGB officer who was Stalin's private film projectionist from 1939 until Stalin's death. Told from Sanchin's view, the sympathetic but tragically flawed hero, squirrel, maintains unwavering faith in his "Master" despite the arrest of his neighbors and his involvement with their daughter, his wife's affair with the chilling State Security chief Lavrentii Beria and her tragic decline, and the deadly political machinations within the Kremlin he witnesses firsthand.

一个奇怪的国际组合，拍成了一部冒险动作片。本片编剧是日本大师黑泽明，导演是俄裔安德烈·科察洛夫斯基，主演是美国的乔恩·沃伊特、埃里克·罗伯斯、芮贝卡·德·莫尔，拍摄地点则在冰天雪地的加拿大。剧情描述在美国西北的监狱，重犯曼尼在饱受折磨之下决定越狱，刑期将满的贝克也被拖下水，登上一列开往阿拉斯加的运货火车逃狱。当他们以为大功告成时，列车竟然失控，被迫往车毁人亡的终点前进。

The tape is dedicated to the tragic events of the October Revolution. Its action covers the period from 1905 to 1924 - a difficult era that influenced the fate of people not only in Russia, but throughout the world in the 20th century.

The history of the tragic events of the October Revolution. The period from 1905 to 1924 was a difficult epoch that influenced the fate of people not only in Russia, but also the whole world in the XX century.

A collection of European T.V. commercials directed by a variety of well-known directors from across Europe and the U.S. Compiled and produced by Jean-Marie Boursicot.

A collection of European T.V. commercials directed by a variety of well-known directors from across Europe and the U.S. Compiled and produced by Jean-Marie Boursicot.