行星艾尔托利亚（エルトリア）的来访者缇丽耶·弗洛里昂为了拯救快濒死的父亲和星球，来到地球上找到“永恒结晶”时，被同行来的伊丽丝骗了。伊丽丝的目…

Russian propaganda film. In 1945, the Second World War has not yet ended, but large-scale work is underway on the territory of liberated Belarus to clear the land of the legacy of war - unexploded mines and shells left in the ground at the site of military operations. OSOAVIAKHIM detachments are created from among teenage volunteers. After completing only a week's training, young girls and boys are sent to personally demining places where fierce battles had recently taken place.

7-channel video installation 7 screens, mirror B/w and colour, sound Aspect ratio 4:3 Loop, 54 min Edition 5 + 2 ap In contrast to one of the most accentuated actions in post-war Germany – the reconstruction of destroyed cities – Julian Rosefeldt and his former collaborator Piero Steinle constructed the episodes of German post-war history with Detonation Deutschland (1996/1999) through a storyline of deconstructions. They collected excerpts of original video and film footage showing demolitions from 1945 up until the mid-1990s, and collaged the extracts to typologies. Almost like a moving, cinematic antithesis to Bernd and Hilla Becher’s serial photographs of building typologies, the sequences are shown on seven screens in a darkened and longish room, doubled by a mirrored wall. Whilst ideologically fraught buildings such as bunkers, or the complex of the ‘Reichsparteitag’ in Nuremberg, are the first to be demolished, war-damaged buildings soon follow in order to delete the crucial traces of a tragic past. In the 1960s a second destructive wave rolls over Germany, when damaged and undamaged pre-World War II houses are destroyed to realise modern urban utopias. In the 1970s industrial buildings give way to the infrastructure of a changing economy. Finally, after the fall of the Berlin Wall in 1989, a frantic series of demolition starts again and post-war housing blocks (Plattenbauten) become the target of post-modern city planning. The collage-like simultaneity of the projections contradicts the chronological historicity of the documents. The demolitions become metaphors of changing and vanishing systems, ideologies and societies. As ‘romantic mist’ and ‘orgies of dynamite power in frequently varying choreographies’ (R. Spieler) they allow the observer to slip into an ambivalent state, torn between fear and pleasure. Summarised from Reinhard Spieler, in: News: Eine Videoinstallation von Julian Rosefeldt und Piero Steinle (1998); and Matthias Winzen, in: Deep Storage – Arsenale der Erinnerung (1998) All rights reserved © Julian Rosefeldt / Piero Steinle

1945年，第二次世界大战尚未结束。在解放后的白俄罗斯领土上，人们开展了大量排雷工作。为了祖国的和平，无数少男少女参加了排雷培训，用生命作为赌注，前往刚刚收复的国土，参加排雷的特别行动。然而，除了地雷和战火的危险，这次行动的指挥官似乎也有着不为人知的一面。在战后的迷雾中，这群少年命运未卜。

曲曲弯弯的山道上，奔驰着黑红两色摩托车暴走族，分别是以风间（岩城晃一 饰）为首的“黑豹”，和以花田（织田あきら）为首的“红辣椒”。他们正要前往铃鹿观看前辈桑岛（桑岛正美 饰）参加的赛车拉力巡回赛，年轻气盛的小伙子在山道上展开了对抗和追逐。 赛后花田与风间约定，两派恩怨数日后要在驹形桥做一了断。风间的妹妹小雪（多岐川裕美 饰）担心哥哥安危，请求桑岛从中调停。调停失败，“黑豹”成员如约出现，然花田却暗中通知警方将“黑豹”一网打尽。“黑豹”成员真一（星正人 饰）侥幸逃脱，他独自前去刺杀花田，反被刺成重伤，不治身亡。出狱后的风间悲愤无比，誓要为好兄弟报仇雪恨……

スリル、スピード。セックスに酔う若者達の激烈な生き様を描く、岩城滉一主演の暴走族シリーズ第4弾!真夏の夜は黒いマシンの天国だが日ごと警察の“暴走族アタマ狩り”は強化されている。そんなある日、光次(岩城)は金持ちのドラ息子達のグループと対立し、卑劣な手段で仲間の一人を殺される。復讐に燃える光次は人質をたてて金を奪い、爆音を轟かせて雑踏の中へと姿を消していった・・・。