1月18日晚，迅雷享誉海外的电影《红萼纷纷》在高平市举行国内首映式。这部与中国传统的乡村生活为背景，迅雷反映中国式亲情、民族传承的影片，此前在意大利举办全球首映式引发海外各界的高度关注。该影片由山西传媒学院、中共高平市委、高平市人民政府、山西蓝晨影视文化有限公司联合拍摄。高平市市委书记范兆森、高平市市长邹树琦、高平市市委副书记原健、高平市人大主任张志刚、高平市政协主席李培安等高平市四套班子领导、影片主创人员及影片原型李丽丽一家出席首映式，并与高平市机关干部共同观看了影片。高平市市委常委、宣传部长牛晓明致辞。山西传媒学院党委副书记王俊刚、影片导演黄晓明讲述了影片的台前幕后。影片《红萼纷纷》以高平市北城办王寺村村民李丽丽为原型，讲述了她父母哥哥都是残疾人，为了改善家庭状况摆脱贫困，李丽丽不屈不挠一手撑起家，通过借钱养羊改善全家人生活的感人故事。该影片深刻揭示了高平市炎帝文化中传承下来的以情为本的生活方式的真谛，真实反映了高平市农村的民族文化基因，进一步展现了高平儿女的光辉形象，弘扬了高平好人精神，传播了时代正能量。
黄俊源
回复 :电影动作指导Sam（许志安 饰）某夜在文化广场偶遇街舞青年榴莲（黄家伦 饰）等人，这激起了Sam沉寂多时的街舞热情，并与这班年轻人以舞结友。Sam回到自己当年的问题少年学校拜访恩师，见识了几位爱好街舞却无处展示的学生阿正（张颖康 饰）等。校方出于引导学生兴趣，请来Sam的弟弟Jack（洪智杰 饰）在校内指导阿正跳舞。榴莲和阿正两支队比舞，令Sam和Jack意外碰面，原来Sam曾令没有经验的弟弟出演特技结果导致其断腿。心有隔阂的兄弟俩终于和好，并计划合作开办一个练舞场。不久学校因投诉压力将Jack解聘，而Sam在老同学帮助下得到了场地，练舞场正式开办。Sam和Jack的舞蹈梦在这些年轻人的身上得以延续……本片根据真实故事改编。
回复 :艾瑞克（John White 饰）算得上是一个标准的失意青年了，连在家中打个手统也造成祖母受惊去世的恶果。艾瑞克与女友翠西交往两年，但一直未能上垒，现在已是全校最后的处男、公认的笑柄，这些还不算，他是大名鼎鼎的“硬条”家族的一员，堂兄德维特等人名满江湖，给他巨大的心理压力。翠西终于同意与艾瑞克共赴巫山，岂料两人时运不济最后又发展成一场屎尿屁笑话，幸好德维特的学校要举办考后大裸奔活动，艾瑞克与死党匆匆投奔堂兄希望用狂欢宽慰心怀……经历了与侏儒橄榄球队的对决，裸奔活动的大幕即将揭开，然而关键时刻，艾瑞克忽然领悟了爱与性的意义，做出了自己的抉择。
回复 :Sixty Glorious Years is an exercise in the creation of iconography, both for Victoria and its star, Anna Neagle (who subsequently became known as 'Regal Neagle'). Just as Elizabeth I commissioned artists to create flattering iconic images for public consumption, so this film performs a similar function, for Neagle is more beautiful than the real life Victoria. Controversial events (such as the 'Irish problem') are omitted and unpleasant aspects of Victoria's character (her petulance, arrogance, favouritism and 'right to privilege') are glossed over as endearing little 'whims'. Albert acts as a moderating influence when she goes too far.The film followed a year after the highly successful Victoria the Great (d. Herbert Wilcox, 1937). Again the screenplay is by Miles Malleson and Robert Vansittart, and many of the supporting cast (the cream of acting talent of period) repeat their roles, this time for the colour cameras. This was the first full length Technicolor film of cinematographer Freddie Young, who captures the spectacle of royal weddings, grand balls and opulent interiors, with scenes actually filmed at royal palaces. Vivid battle scenes, set in Alexander Korda's empire territory (Sevastopol and the Sudan), rival those in The Four Feathers (d. Zoltan Korda 1939).The title music sets the tone: a regal choir sings over a shot of the crown. Elgar's 1901 'Pomp and Circumstance' march is heard during the diamond jubilee celebrations and, as Victoria's coffin lies in state, the film concludes with Anthony Collins' stately music accompanied by the text of Rudyard Kipling's 'Lest we forget'. Combined with the emotional appeal of scenes of Victoria connecting with her 'ordinary folk', this is stirring stuff.The film connects with contemporary events of 1938. The release of two celebratory royal films was intended to boost public affection for the monarchy in the wake of Edward VIII's abdication. Anglo-German relations were another touchy subject. With another war on the horizon, influential voices wanted appeasement, and the film could be seen to fit that agenda. Victoria herself was of mainly German descent, nicknamed 'the grandmother of Europe', while Albert is a 'good German', charmingly played by Anton Walbrook as a cultured, decent man.Sixty Glorious Years now seems unduly formal and reverential. Had movies existed during Victoria's reign (they only emerged at the end) this might have been the kind of film produced. Unlike Mrs Brown (d. John Madden, 1997), it is all so very 'Victorian'.Roger Philip Mellor
