It is a known fact that antiquarian bookseller and carefree, innovative personality, Frede Smith, was so attached to Asta Nielsen that he was the shoulder she cried on during the period of grief after her daughter, Jesta's suiside in 1964.Not many people have any idea of how deep their friendship was or how long they had been friends. Only now, several years after Frede Smith's death, a discovery of so much material and so many effects amongst his extensive possessions, can reveal the hidden truths. Not least, thanks to an enormous amount of large tape reels containing recordings of more than 80 hours telephone conversations between Asta and Frede during the period 1957-1959, as well as a number of conversations, from the same periode, that Frede had with Asta's daughter Jesta and her husband; Asta's son-in-law, Poul Vermehren. Altogether tape recordings made in secret by Frede Smith and hidden well for posterity.The telephone conversations invite us into a quite unusually warm and loving friendship. Into a private, intimate sphere which Asta Nielsen otherwise shied away from in public. In her great autobiography The Silent Muse, she would not reveal anything of her private thoughts and experiences - about her daughter and her husband, her former marriages with the film director Urban Gad, the Swedish magnate Freddy Wingårdh and her Russian actor Gregori Chmara, whom she lived with for 13 years without being lawfully married.About her many clashes with Danish mentality when she returns from Germany in 1937, her attitude towards Nazism, the Danish culture, her many rejections in trying to obtain a cinema concession in Denmark after the war, attempts at a come-back to the Danish theatre scene, her life which in many ways became lonely and bitter - and not least - her relationship to her daughter and son-in-law, especially her daughter's very characterstic fate, reflected through the daughter's battle with diabetes and overweight.With Frede on the phone, the silent muse became the talking muse - and perhaps Frede was the film prima donna's last hope for glorious "golden days".The film shows footage from a large number of Asta Nielsen's many films. She recorded, in total, 74 films during the period 1910 to 1932. An extensive, private arcive and personal effects which she also entrusted to Frede Smith, as well as plenty of private footage from Germany and Denmark.

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《河边的错误》魏书钧从《野马分鬃》，《永安镇故事集》再到这部《河边的错误》，最为突出的电影美学特征，是犹如导演阿巴斯一样，要“探讨电影与生活虚实的边界”，这也是他们缕缕在国际影展获奖的一大原因——探索电影的本质与边界。魏的前两部电影偏纯文艺，受众和票房不佳，于是第三部《河边》，他开启了文艺与商业杂糅的尝试。商业化的悬疑叙事，更多的预算，更大的卡斯配置，这都是为了自己还能有机会拍下去而做的努力。但《河边》因为文艺与商业强行缝合，而产生的对抗与割裂，也是真实存在的。导致

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幸运抽中了路演，下班赶紧冲向电影院?感受了一番林导的暴力美学，时隔年回归港片，无论是打斗还是追逐，仍旧实力不减，看的我心惊胆战。全程无尿点，剧情紧凑，人物丰满，个人感觉人物线条有点过多，稍微不留意可能就会感觉有点奇怪。但是整体还是值得去电影院看的。最后，致敬缉毒警察?，真的太伟大了

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《我才不要和你做朋友呢》，起这样的片名，给人的第一印象，好像是部乏味且粗制滥造的网剧。然而点开一看，发现恰恰相反，剧情有趣而不牵强，对白搞笑而不恶俗，演员演技到位而不浮夸，笑点让人捧腹而毫不生硬，每每看似毫无关联的剧情转折的平滑而自然。这年头一大堆所谓的青春偶像烂剧都能被水军们偶尔刷到-分，本剧如果不给分感觉有点对不起创作团队的那股子认真劲。就连每一集的小标题，都透露出编创团队的巧妙构思，不是随随便便博眼球而标题，配合每集开篇小片段，起的自然而有趣，没有丝毫违和感

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刚开始觉得无聊，不过看到后面还是觉得有点意思。这部剧深刻地反应了人性的本质和银行的本质，不是什么社会经济的支柱，只是贷款收款，确保资金的合理流向。这里只谈钱和人事调动，只有利益。当然，人没有钱和梦想，也是万万不行的。很佩服半泽的为人，永远不做机器人，敢于对违背自己原则的事情说不，不管是上司还是谁。一直觉得配得起“你这个人到现在一点都没变”的人都是又原则和坚守初心的人。就如半泽说，不管你在什么职位和哪里，你都是你。珍惜人与人之间的交流，任何时候都会站在对方角度考虑，永存真情。最感动的是哪怕近藤背叛了他，但他还是理解他了，因为他站在近藤的位置想，如果他是近藤应该也会这样，还是继续做哥们，因为他也知道他们那件事之后就不会再有什么利益纠葛了，而且那是他一辈子的兄弟。利用媒体帮助那个住医院的老先生找到了他的女儿和孙子。还有他珍惜与身边人的交流包括通过跟老婆花的交流想到帮未树小姐贷款来换取东田交易记录，跟那个酒店老太太的一句话让他直接反驳实验调查等等。还有让想到之前上网络课程看到的台大老师