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导演：
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杉田成道
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日本连续剧《北国之恋》以温情慈爱的笔触，描写家庭亲情之爱，人性之爱。离了婚的父亲带着一对儿女从东京来到充满田园风光的日本北方小岛生活。影片细腻地描写他们从学校走入社会工作，成家立业，生儿育女。剧中人物尽管有着各种不如意的生活经历和自己无法掌控的现实，但他们最终都能战胜所面临的逆境，更加理解身边的人和事。 该剧首批81年在日本播出后，便成为家喻户晓的剧目。87年至2002年，又每年一次地用同班创作人员和演员，演出新的剧集。这种近乎纪录片的手法，也是它获得25-30\\%收视率的原因之一。 《北国之恋》被赞誉为“高尚精美的人性戏剧”，在日本多次获奖，该剧剧本还被选为日本高中语言教材，其拍摄地点日本北方小岛后也成为热心观众争相游览的旅游景点。
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杉田成道
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There is a man who divorced his wife. He moved to rural Hokkaido from Tokyo where he lived with his family without running water or electricity. He has his son and daughter in tow and works hard for them. The folk moxia.cc in the area try to help. A couple of years pass and the older son moves back to Tokyo, attends school and works part-time. The daughter commutes to the city to attend school. She wants to become a nurse. To become a registered nurse she needs to study a further three years. This takes money.
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Oleg Urazaykin
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Near future. Mankind is successfully exploring space: now a huge Delta station is located in the earth's orbit. Maksim Bortnikov is one of the members of the station repair team. An unexpected catastrophe caused by a proton storm cuts off Maksim from the rest, and he is left alone in outer space.
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内详
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FoxhasgivenaSeason3pickuptoAlert:MissingPersonsUnit.Therenewaloftheproceduraldrama,starringScottCaanandDaniaRamirez,hasbeenexpected.Tomakefilmingmorecost-efficientforseriesproducersSonyPicturesTelevisionandFoxEntertainment,Alertwillremainincontinuousproduction,segueingfromtheabbreviated-by-the-strikessecondseasontoSeason3,whoseepisodecountisstillTBD,Ihear.ThereisanadditionalbenefittofilmingSeasons2and3back-to-back—FoxwillhavefreshepisodesoftheseriesincaseproductionisdisruptedbyanIATSEstrikethissummer.
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阿瑟·佩恩
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Harry Moseby (Gene Hackman), a worn-out private detective, is hired to look for a 16-year-old girl who has run away from the luxury home of her mother, formerly a small-time actress in Los Angeles. The more the weary cynic tries to get under the surface of the seemingly simple case, the harder it is for him to find his bearings among the lies and deceptions that surround him. Eight years after the key New Hollywood film Bonnie and Clyde, Arthur Penn and Gene Hackman reunited to collaborate on what was to become one of the most undervalued films of the decade. Like Polanski in Chinatown or Altman in The Long Goodbye, in his revisionist film noir, Penn also allows the 1940s classic genre to pervade the complex reality of the 1970s. The feelings of bitterness and emptiness in the modern Chandleresque protagonist originate not only in the “public” sphere of the strange, increasingly convoluted case, but in his private life as well (boyhood trauma, a broken marriage). As Moseby remarks of a sporting event, “nobody’s winning … one side is just losing slower than the other.”
