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该片讲述了燕十七的师傅临终前传他一本捉妖录，但捉妖录却被三只猫妖所偷，燕十七一路追赶猫妖到不音城，发现城主正在召集能人异士捉住国王体内的“耳中之妖”。燕十七捉住了一只偷窃自己钱财宝物的鼠妖，而这个名为鼠来宝的鼠妖却是捉妖录真正的传人。原来鼠来宝就是袁公身边那只修炼成妖的老鼠蛋生，袁公传给鼠来宝的捉妖录被燕十七的师傅抢走，并传给了燕十七。而现在燕十七的捉妖录又被三只猫妖抢去，猫妖们凭借捉妖录的威力满足自己的私欲。为了夺回捉妖录，两人决定联手……

纪录片《关爱之家》简介：《关爱之家》起因于《中国经济时报》首席记者王克勤的长篇报道《邢台艾滋病真相调查》，影片记录了河北邢台农村妇女刘显红打官司的故事。她因在医院输血感染艾滋病毒，决定公开身份、起诉医院，历经艰险终于获取赔偿。以她的经历为主要线索，影片通过几个家庭的遭遇和感染者成立“关爱”小组集体维权的努力，呈现出在基层农村涌动的公民权利意识。尽管追求法治的路困难重重，但由于社会关怀、媒体介入和法律援助，政府也转变了态度，并出台了改善感染者处境的政策。在通往社会公正的道路上，《关爱之家》呈现了爱与社会改变的可能性。Care and LoveThe high profile success of The Blood of Yingzhou District—winner of Oscar's Best Documentary this year—has encouraged worldwide attention on the HIV/AIDS epidemic in China. Almost at same time, two works on the subject have spreaded among the HIV/Aids activists and NGOs in China, The Central Plains (2006), and Care and Love(2007), directed by Ai Xiaoming, a professor from Sun Yat-sen University, and filmed by herself and Hu Jie.Care and Love draws its inspiration from 'Investigation of HIV/AIDS in Xingtai', a feature article written by Wang Keqin, a senior journalist at China Economic Times, which tells the story of Liu Xianhong, a woman villager who contracted HIV through a blood transfusion during childbirth. The film documents how she publicized her story, filed a lawsuit with her 8-year-old son against the local hospital and eventually received compensation. The film also records the sufferings of several families and a collective effort to defend their own rights by people living with HIV/AIDS, who set up an organization, 'Care and Love Group'. The film reveals an increasing awareness of civil rights in rural areas. Growing social concern, media intervention and legal aid have forced the local government to compromise and modify their policy, and improve the situation for AIDS patients. Care and Love thus shows the possibility for social change on the way to social justice.

文水市川剧团将出国演出名剧《真假如来》 。为了争到出国名额，人们立即开始了行动。地委书记的夫人、办公室主任洪向青首当其冲挤掉了地委张副书记的团长位置，并依靠权势，把跟艺术毫无关系的的赵部长、李局长拉来做副团长。心急如焚的处长包林当机立断挤掉主角跃艺，自己出演大肚罗汉，可不曾想这个机会被自己的上级范处长夺去了。失落的包林把事情捅到省委。跃艺在某领导支持下找到剧团。跃艺与范处长和先一步来的包处长，三个罗汉在后台你争我夺，令人哭笑不得。

Directed and edited by Esfir Shub. A devastating chronicle of Tsarist Russia from the eve of World War I until its brutal demise in the revolutions of February and October 1917, The Fall of the Romanov Dynasty comprises hundreds of films that Esfir Shub unearthed and rescued from damp cellars and other neglected corners of the Soviet Union, including newsreels and home movies taken by the Tsar’s own cameramen. Using the film splice as a cudgel, Shub contrasts the Imperial Family in opulent ballrooms, regal processions, and garden tea parties with the backbreaking toil of the masses, a bitter satire that makes the Revolution seem both historically inevitable and triumphant. One of the great pleasures of this Vertov retrospective is rediscovering the work of certain largely forgotten women filmmakers of the Soviet avant-garde, including Elizaveta Svilova, Vertov’s editor and wife, and Shub, who pioneered “found footage” cinema and was instrumental in the development of dialectical montage, collaborating with Sergei Eisenstein on the shooting scripts of Strike and Potemkin. (from moma.org)