In the 1930s, the photographer ZHUANG Xueben leaves Shanghai to explore the Blank Lands of China, absent from geographic maps and filled with an air of mystery. In particular, the Blank Lands were the remote regions of the western borders, which in the collective imagination were inhabited by “barbarian cannibals”. Thus, ZHUANG was a pioneer of visual anthropology, at a time when photography in China was practised exclusively in studio.His works represent a real human and artistic journey into completely unknown lands and reveals unexpected truths about these people. However, in the 1960s his work was erased by the chaos of the Cultural Revolution and was soon after forgotten. Only after forty years, thanks to his son, these precious treasures of photography and anthropology managed to occupy the respectable place they are worth.This documentary is a journey into the unknown lands explored by ZHUANG Xueben, through his pictures and his travel journal, which was recently found. But it is a present journey as well, in those same lands, which will allow us to see which distinctive features of these people once considered as cannibals have remained unchanged and which ones have changed. Through interviews to members of his family, photographers and through historical reconstructions, we are able to better know this audacious photographer who was forgotten for a long time.

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光头强是一名普通程序员，但他却有着不平凡的梦想。在梦中，他经常能看到陌生的森林和两只狗熊。有一天，他终于意识到这些梦可能是他过去人生中的一些经历和遗憾，于是决定跟上司出访大客户，展开一场奇妙的时空冒险，去寻找自己的真正身份和挽救旧时间线里的熊大熊二。这部电影既充满想象力，又让人感受到了主人公内心的强大。（条）

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《雪中悍刀行》播出以来，吐槽声音不断。一说武打技术不过关，体现不出武侠剧的特色；一说滤镜不太合适，没有拍出女演员的美感；一说改编太多，好多名场面都被改没了。但是有一点却不能说不好，那就是张若昀。剧中，张若昀饰演的徐凤年知道老黄死后，他独自喝酒悼念老黄，他先是强忍着悲伤喝酒，然后再唱老黄常唱的那首歌，不觉间眼泪已经悄然落下，他低下头，用袖子擦干自己的泪水。这一段，他诠释得非常细腻，共情力十足。看完这一段，我就突然明白为什么《雪中悍刀行》的原著作者烽火戏诸侯要点名要让张若

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很不错 真的爱了 我一个路人都喜欢 还有师尊也很帅???????????????????????????????????????????????????????????????????????????????????????????????????????????

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剧情中规中矩，非常典型的中式以爱为核心的几个小故事：关于情侣、母女、父子，整体比较温馨，但是也没什么特别出彩的地方。我比较喜欢的地方有两处：一是有完整的女同故事，二是现在比较少见的母女故事（真是被中国电影里面的“母子情”、“父女情”熏到了，这里实名批评脐带?），但是槽点也非常明显，首先，母女告别的时候为什么一定要反复强调小女孩未来长的漂亮，能找个好归宿啊！这就是导演编剧理解中的对女性最好的祝愿吗?当时看得我直皱眉头，你但凡多拍几个妈妈和女孩一起经营商店的镜头呢？体现