与法同行“伴成长”，法治护航“不迷路”
大青山县政府办公室副主任付立业进山拉木柈子烧火，刚好研究生毕业留到省会城市的杨帆打算进山拉板材做家具用，要搭付立业的方便车，杨帆有木材出山通行证，付立业答应了他。为方便，付部长亲自开车出发了。 大青山县为了控制滥砍盗伐，保护林业资源，规定凡出山的木材必须持有国家运材许可证或县政府的许可证，为此沿途建立三个检查站。付立业要运出山的烧火材是几年前的柈子，按规定也必需有通行证。为了稳妥，付立业请副县长写信，想凭此开出通行证来。可是开通行证必须有买木材的发票，付立业拿不出发票，政府林管部门拒绝开证。无奈的付立业请来年轻漂亮的女大夫孟繁霞进山攻关。 红枫镇是出山第一站。杨帆在这里装上了一米木板，同时带上了出山许可证。孟繁霞在这下车，她要按照付立业的安排找到检查站鲍站长做好出山的铺垫工作。鲍站长因为严格执法被称为鲍黑子……
“武当一梦”国潮电竞派对启幕：沉浸式武侠秘境融合电竞对决，激战未来战场！
我学医的在妇科医院上班，今天遇到一女病号，说她男朋友把一颗大拇指大的弹珠塞进了她下面，现在取不出来，只能上医院了！原因居然是，她男朋友要上她，但她是处，心里各种紧张不让，后面她男朋友跟她说只要弹珠能进去，他就能进去，结果就这样了！突然觉得信息量好大。
安理会召开紧急会议 多国谴责以色列扩大军事行动决定
LCK第二阶段：KT稳扎稳打，关键团战双C兜底，拿下NS
星际荣耀董事长彭小波：中国民营火箭企业正加速实现天基互联网
A loving film tribute to Russian filmmaker Larisa Shepitko, who died tragically in a car accident in 1979 at the age of 40. This documentary by her husband, Elem Klimov, includes excerpts from all of Shepitko's films, and her own voice is heard talking about her life and art. Elem Klimov's grief-stricken elegy Larisa examines the life of his late wife—the film director Larisa Shepitko—through a series of direct-address interviews and photomontages, set against a mournful visual-musical backdrop. Typically, Klimov films his subjects (which include himself and several of Shepitko's collaborators) within a stark, snow-covered forest, its tangled web of trees standing in as metaphorical representation of a perhaps inexpressible suffering, the result of Shepitko's premature death while filming her adaptation of Valentin Rasputin's novella Farewell to Matyora. Interweaving home movie footage with sequences from Shepitko's work (Maya Bulgakova's pensive plane crash reminiscence from Wings takes on several new layers of resonance in this context), Larisa's most powerful passage is its first accompanied by the grandiose final music cue from Shepitko's You and I, Klimov dissolves between a series of personal photographs that encompass Larisa's entire life, from birth to death. This brief symphony of sorrow anticipates the cathartic reverse-motion climax of Klimov's Come and See, though by placing the scene first within Larisa's chronology, Klimov seems to be working against catharsis. The pain is clearly fresh, the wound still festering, and Klimov wants—above all—to capture how deep misery's knife has cut.
商务部就加强稀土相关物项出口管制答问：将设置合理过渡期
持续攀升创纪录！国庆长假首日超3.6亿人用高德