On the shores of Aulis, the Greeks prepare to attack Troy. But their ships are unable to set sail because the gods are holding back the winds necessary for departure. Agamemnon consults the oracle. The solution is tragic. To appease the goddess Artemis, whom he had offended, he must sacrifice his own daughter.

The eighteenth century German composer Christoph Willibald Gluck strove for the ideal of pairing poetry - in its purest form - with operatic score, an end he came closest to achieving with his 1779 opera Iphigeneia in Tauris (Iphigénie en Tauride). The story recounts the nearly fatal brother-sister relationship, its ultimate reconciliation, and the eventual Scythian-Greek truce as achieved by the intervening hand of the goddess Diana. The home video release Iphigenie en Tauride contains a film of a live performance of the work, as mounted by the Opernhaus Zurich in 2001. Claus Guth directs for the stage, with a cast that includes Juliette Galstian as Iphigenia, Rodney Gilfry as Orestes and Martina Janková as Diana. The Zurich Opera's Orchestra La Scintilla and the Chorus of the Opernhaus Zurich provide musical accompaniment.

Gluck’s gripping adaptation of the ancient Greek myth is vividly brought to life by a stellar cast in Stephen Wadsworth’s atmospheric production. Oreste is driven by the Furies to atone for killing his mother Clytemnestre. When he and his companion Pylade are shipwrecked on the island of Tauride, the king Thoas demands they be sacrificed. At the center of the drama is Iphigénie, Oreste’s long-lost sister. Forced to live among her enemies, she holds the lives of the captives in her hands—unaware that one of them is her brother. (Iphigénie en Tauride is performed in an adaptation of the 1779 Paris version edited by Gerhard Croll, by arrangement with Bärenreiter.)

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Polish-born Russian subject Cezary Baryka comes of age during a tumultous period of ten years from 1914 to 1924, during which he witnesses revolution, rebirth of Poland, war with the Soviets and communist plots.

Iphigenie, banished daughter of Klytemnaestra, is now high priestess to Diana. Two strangers from Greece wash up on shore; when Iphigenie recognizes one as her brother, Orestes, she is powerless to stop his execution. Cue the goddess Diana.

Orkney Snork Nie, a popular Afrikaans sitcom, originally broadcast by the SABC in South Africa. The name translates directly into Orkney Doesn't Snore, but the message being conveyed in Afrikaans is that the town isn't sleepy, there's always something happening.

Black snow and a grey sky. A young bank robber takes a man as hostage who has been prevented from committing suicide; he is also encumered by a charming, self-willed woman witness . . . But no matter how he tries to extract himself, the three of them are stuck with each other.

Eugénie Grandet is set in the town of Saumur. Eugénie's father Felix is a former cooper who has become wealthy through both business ventures and inheritance (having inherited the estates of his mother-in-law, grandfather-in-law, and grandmother all in one year). However, he is very miserly, and he, his wife, daughter, and their servant Nanon live in a run-down old house which he is too miserly to repair. His banker des Grassins wants Eugénie to marry his son Adolphe, and his lawyer Cruchot wants Eugénie to marry his nephew President Cruchot des Bonfons, both parties eyeing the inheritance from Felix. The two families constantly visit the Grandets to get Felix's favour, and Felix in turn plays them off against each other for his own advantage.

Absurd gag comedy about a grotesque pursuit of a "snow man" allegedly imported to Poland. A box with a shipment from India, which was supposed to contain a yeti, turned out to be empty. The desperate professor tries to find it. He even gets into prison, from which, however, he escapes handcuffed with the thief. Meanwhile, the "snow man" begins to be considered the perpetrator of more and more crimes. Eventually, everything becomes clear. In the telegram notifying of the shipment, a word was twisted and hence the whole misunderstanding.