“南京博物院藏仇英名作現身拍賣市場”追蹤
由嗶哩嗶哩出品、大桔文創聯合出品的《小主安康－寵物醫院3》作為國內首檔寵物醫療觀察類真人秀，節目將視角聚焦于寵物醫院，通過最真實的記錄，呈現發生在醫院內外形形色色的事件。第三季選擇了三家覆蓋著不同人群、各有特色的寵物醫院，圍繞三家醫院中五位性格迥異、各有所長的寵物醫生和醫生助理，展現發生在寵物醫院內外的暖心人寵故事，旨在通過講述醫生、寵物、主人之間的動人故事，真實體現寵醫行業的現狀，傳達人間溫情、揭示社會現象。
梁恩硬核演繹海軍英雄！電影《蛟龍行動》熱映，致敬深藍勇士
齊魯蛙眼亮相中國式現代化進程中的美好生活學術研討會，分享創新實踐成果
畢節：精準“貸”動農機升級，金融賦能“新農人”
青島地鐵新車亮相，更舒適、更智能，未來跑在8號線支線
道奇（喬治·克魯尼 George Clooney 飾）所帶領的橄欖球隊由于投資方拒絕繼續贊助而面臨著被迫解散的下場，為了自己摯愛的橄欖球運動，也為了一同流血流汗的隊友們，道奇必須想出解決的辦法。大學橄
骨痛靈酊為啥貼60分鐘？中藥藥液+透氣膠貼，起效快、藥效久
從綠茵場到紫霄宮 香港明星足球隊武當山“拜師學藝”
Whenever I see La Paura I think of it as a companion piece to Eyes Wide Shut, or maybe it is the other way around. Adultery makes both films tick but in different ways. I think Phillip French was right on the money when he pointed out a Wizard of Oz thing in Kubrick's last work. Like Dorothy, Tom and Nicole go through fantasies and nightmares and at the end Dorothy's reassuring childish motto there's no place like home is ironically updated to the adult circumstantial adage there's no sex like marital sex. Kubrick's take is intellectual, he never leaves the world of ideas to touch the ground. He taunts the audience first with an erotic movie and then with a thriller and refuses to deliver either of them. He was married to his third wife for 40 years, until he died. Rossellini was still married to Ingrid Bergman when he directed La Paura; they had been adulterous lovers and their infidelity widely criticized La Paura is a tale, a noirish one. The noir intrigue is solved and the tale has a happy ending. The city is noir; the country is tale, the territory where childhood is possible. The transition is operated in the most regular way by car, a long-held shot taken from the front of the car as it rides into the road, as if we were entering a different dimension. Irene (Bergman) starts the movie we just see a dark city landscape but her voice-over narration tells us of her angst and informs us that the story is a flashback, hers. Bergman's been cheating on her husband. At first guilt is just psychological torture but soon expands into economic blackmail and then grows into something else. From beginning to end the movie focuses on what Bergman feels, every other character is there to make her feel something. Only when the director gives away the plot before the main character can find out does he want us to feel something Bergman still can't. When she finds out, we have already experienced the warped mechanics of the situation and we may focus once again on the emotional impact it has on Bergman's Irene. In La Paura treasons are not imagined but real, nightmares are deliberate and the couple's venom suppurates in bitter ways. Needless to say, Ingrid has another of her rough rides in the movies but Rossellini doesn't dare put her away as he did in Europa 51, nor does he abandon her to the inscrutable impassivity of nature (Stromboli). His gift is less transcendent and fragile than the conclusion of Viaggio in Italia. He just gives his wife as much of a fairy tale ending as a real woman can have, a human landscape where she can finally feel at home. Back to the country, a half lit interior scene where shadows suggest the comfort of sleep. After all, it's the fairy godmother who speaks the last words in the movie.