The unveiling of a statue honoring Emiliano Zapata becomes the site in which the demands of a struggling city are manifested through the speech of a young boy.

In an associative montage statues of saints in rigid and rapt poses are crosscut with those of real actors until the two can no longer be told apart. Gradually the real bodies break away from the constraints of their wooden models through increasingly improvised dance. A successful act of liberation from convention, which the material celebrates in an ecstasy of multiple exposures and psychedelic colors. – Maya McKechneay

暂无英文版的简介，请添加内容帮助我们完善数据库。

Soviet specialists are building a hydroelectric power station in a Middle Eastern country. To continue the work, it is necessary to carry out an explosion... But no one even suspects that an old German ammunition depot is hidden nearby, underground. An accidental explosion would suit the British company that lost the order to the Russians. Weber, Greerson, and Gedda are faced with a problem: they need to warn the Russians about the danger. Each of them has had encounters with Soviet people in their lives...

《雕像也会死亡》（Les statues meurent aussi，阿兰·雷乃、克里斯·马尔凯，1953年出品，27分钟）尖锐地批评了西方殖民主义对非洲传统艺术的戕害以及自称热爱非洲艺术的上等阶层的贪婪与伪善。本片的主角是来自黑非洲的人物雕像、面具和其他非洲艺术品，但是它们的演出场所并非黑人的故乡，而是白人的欧洲，艺术品市场和艺术品拍卖会是它们频频出没和滞留的中转地。这些本来被非洲部族用来抵抗死亡的面具和雕像，如今却呆在博物馆的橱窗里静静地死去。此时，画外音告诉我们：“当人死去的时候，他便进入了历史；当这些雕像死去的时候，它们进入了艺术；这种关于死亡的学问，我们最后称之为文化。”由于本片具有鲜明而强烈的社会批判意识，自拍竣之日起即遭到法国政府禁映，直到1963年才解禁。本片由长于剪辑的阿兰·雷乃操刀剪辑，由强于写作的克里斯·马尔凯撰写解说，充分发挥了两人各自的强项，可谓强强合作的结晶。 This collaborative film, banned for more than a decade by French censors as an attack on French colonialism (and now available only in shortened form), is a deeply felt study of African art and the decline it underwent as a result of its contact with Western civilization. Marker's characteristically witty and thoughtful commentary is combined with images of a stark formal beauty in this passionate outcry against the fate of an art that was once integral to communal life but became debased as it fell victim to the demands of another culture.

影片探讨了美国早期非洲文化艺术品收藏家和展览者阿尔伯特·C·巴恩斯博士与被誉为 "哈莱姆文艺复兴之父 "的著名哲学家和文化评论家阿兰·洛克之间的传奇关系。