当瓦尔达去美国旧金山宣传她的电影时，当地的朋友汤姆・鲁迪告诉她，在索萨利托镇的一艘船上也有个叫瓦尔达的人，你们会不会有亲戚关系？阿涅斯・瓦尔达决定去弄清楚。在一个周四，她见到了这位扬科，他是阿涅斯父亲的表亲，和他的嬉皮士朋友们住在一艘船上，以画画为生。瓦尔达对这次相遇兴奋不已，也对两个人志趣相投感到高兴。她决定将之拍成影片，周六就动手，一连拍了三天，完成了这部充满趣味的“扬科叔叔”的人物影像。

让·瓦尔达是一位美国画家，生活在美国旧金山郊区的海湾，这里是知识分子的聚居地和波西米亚人居住的中心地带。这位老人喜欢驾驶一艘装有拉丁式风帆的帆…

朱尔斯· 凡尔纳和HG·威尔斯做出了许多有史以来最令人毛骨悚然的准确预测。在阿波罗计划开始前100年，凡尔纳预测了美国登月计划的诸多细节，从航天器的速度和重量到佛罗里达州中部发射场的位置都非常准确。几年来，凡尔纳的未来风格的潜艇“鹦鹉螺”号也为潜艇设计师提供了灵感。HG·威尔斯首次为我们描绘了外星人入侵场景，这也启发了物理学家研究时间旅行的可能性。最值得关注的是，在世纪之交，HG·威尔斯预见到了战争在未来的发展，他预测到空爆、坦克，甚至是1913年原子弹的出现。多年后，威尔斯的小说启发了物理学家利奥·西拉德发现了连锁反应，这是原子弹的理论关键。本节目将为您揭示科幻小说作家们不可思议的观点背后所隐藏的秘密，并展示他们是如何激发出二十世纪一些最重要的发明。

Vincent, a truck driver, picks up a young pregnant woman. She turns out to have an unstable temper… and an automatic pistol. She orders Vincent to continue driving, without stopping. When he's out of gas, she'll kill him.

A rocker makes a pact to kill himself on his 37th birthday. 12 weeks before the release of his final album and the end of his life, he meets and falls in love with a woman who has a dark secret of her own.

March 27th, 1964. The New York Times published an article headlined '37 Who Saw Murder Didn't Call the Police.' For more than half an hour, 37 law abiding citizens in Queens watched their neighbor, Kitty Genovese, being brutally killed outside their apartment building. Florel and Jack Bernstein were among those bystanders. A shirt film.

In an interview with Hans Scheugl about the ideas and techniques behind some of his films, the film-maker Kurt Kren told the following anecdote, which sheds an interesting light on his work. For his film Tree again (1978), Kren used a highly sensitive infra-red color film, a type which usually has to be developed within a very short period of time. However, Kren who has always worked on a very small budget, only had a roll of film which was already five years past its expiry date and, as Kren says, "there was little likelihood of anything turning out on the film." But he still decided to take shots of a large and splendid tree surrounded by bushes and a stretch of pastureland over a period of several weeks, from summer to autumn - a series of individual pictures taken from the same camera position. As he says, "I didn´t have much hope - (I knew) it was a crazy thing to do." But Kren´s illogical hope and his unshakeable confidence in his material were rewarded. Tree again became one of Kren´s most beautiful works - although it is difficult to single out any individual work from a corpus of extraordinary density and variety which spans over thirty years and includes over 40 films. The tree, the field, the sky, in fact the entire picture radiates an unusual, almost eerie artistry, with its rapidly changing blue, green and reddish hues, sometimes brightly illuminated for the fraction of a second like the flash of lightening in a technicolor horror film. Or a sky of deep blue with clouds scudding across it, an airplane drawing condensation trails which fade away imperceptibly, the abrupt juxtaposition of sun and shadow and the strong, gusty movement of the wind amongst branches and leaves, as though an endless and destructive storm were at work. An apocalyptic picture, yet one that is full of a wonderful, quiet beauty - the changing of the sun, and the play of light, how autumn arrives in a matter of seconds and the leaves begin to fall, the shadows of grazing animals which appear and disappear in the blink of an eye.

In an interview with Hans Scheugl about the ideas and techniques behind some of his films, the film-maker Kurt Kren told the following anecdote, which sheds an interesting light on his work. For his film Tree again (1978), Kren used a highly sensitive infra-red color film, a type which usually has to be developed within a very short period of time. However, Kren who has always worked on a very small budget, only had a roll of film which was already five years past its expiry date and, as Kren says, "there was little likelihood of anything turning out on the film." But he still decided to take shots of a large and splendid tree surrounded by bushes and a stretch of pastureland over a period of several weeks, from summer to autumn - a series of individual pictures taken from the same camera position. As he says, "I didn´t have much hope - (I knew) it was a crazy thing to do." But Kren´s illogical hope and his unshakeable confidence in his material were rewarded. Tree again became one of Kren´s most beautiful works - although it is difficult to single out any individual work from a corpus of extraordinary density and variety which spans over thirty years and includes over 40 films. The tree, the field, the sky, in fact the entire picture radiates an unusual, almost eerie artistry, with its rapidly changing blue, green and reddish hues, sometimes brightly illuminated for the fraction of a second like the flash of lightening in a technicolor horror film. Or a sky of deep blue with clouds scudding across it, an airplane drawing condensation trails which fade away imperceptibly, the abrupt juxtaposition of sun and shadow and the strong, gusty movement of the wind amongst branches and leaves, as though an endless and destructive storm were at work. An apocalyptic picture, yet one that is full of a wonderful, quiet beauty - the changing of the sun, and the play of light, how autumn arrives in a matter of seconds and the leaves begin to fall, the shadows of grazing animals which appear and disappear in the blink of an eye.

Plot Keywords: Surrealism | Country Boy | High Tech | Fleet | Confrontation

Plot Keywords: Surrealism | Country Boy | High Tech | Fleet | Confrontation