"Four days spent in a studio working on a centerfold photo for Playboy magazine provided the subject matter for my film. The magazine itself deals with culture, cars, a certain lifestyle. Maybe all those trappings are only there to cover up the naked woman. Maybe it's like with a paper-doll. The naked woman in the middle is a sun around which a system revolves: of culture, of business, of living! (It's impossible to either look or film into the sun.) One can well imagine that the people creating such a picture, the gravity of which is supposed to hold all that, perform their task with as much care, seriousness, and responsibility as if they were splitting uranium. This film, An Image, is part of a series I've been working on since 1979. The television station that commissioned it assumes in these cases that I'm making a film that is critical of its subject matter, and the owner or manager of the thing that's being filmed assumes that my film is an advertisement for them. I try to do neither. Nor do I want to do something in between, but beyond both." --Harun Farocki, Zelluloid, no. 27, Fall 1988

很久以前，住在山麓中的壮（僮）族妈妈妲布和三个儿子靠织锦、砍柴为 生。一天，妲布从集市上买回一幅美丽的田园画，决心照样织成僮锦。她夜以继日，整整化了三年时间，方才织成。正当一家围着僮锦观赏时，忽然一阵狂风卷来，僮锦随风飘去，不见踪影。妲布焦急万分，嘱咐老大、 老二速去找回僮锦。他俩来到大山隘口，见有个老奶奶坐在石屋门前，急忙前去询问僮锦下落。老奶奶告诉他们僮锦藏在太阳山的仙宫里，沿途艰险。

很久以前，住在山麓中的壮（僮）族妈妈妲布和三个儿子靠织锦、砍柴为生。一天，妲布从集市上买回一幅美丽的田园画，决心照样织成僮锦。她夜以继日，整整化了三年时间，方才织成。正当一家围着僮锦观赏时，忽然一阵狂风卷来，僮锦随风飘去，不见踪影。妲布焦急万分，嘱咐老大、老二速去找回僮锦。他俩来到大山隘口，见有个老奶奶坐在石屋门前，急忙前去询问僮锦下落。

她决定将这幅画的图案织成一块壮锦，以此来装点家中的环境。妲布投入了全部的心血和毅力，夜以继日地织着，终于在三年后完成了这块壮锦。当锦缎展开时，家人们都为之惊叹，这是如此美丽而珍贵的一件作品。然而，就在他们准备欣赏时，一阵狂风突然卷起，锦缎被吹得四处飘散，消失得无影无踪。他们来到大山隘口，遇见了一个慈祥的老奶奶，她告诉他们壮锦被藏在遥远的太阳山仙宫中，但要走过一条充满险阻的道路。

很久以前，住在山麓中的壮（僮）族 妈妈妲布和三个儿子靠织锦、砍柴为生。一天，妲布从集市上买回一幅美 丽的田园画，决心照样织成僮锦。她夜以继日，整整花了三年时间，方才织成。正当一家围着僮锦观赏时，忽然一阵狂风卷来，僮锦随风飘去，不见踪影。妲布焦急万分，嘱咐老大、老二速去找回僮锦。他俩来到大山隘口，见有个老奶奶坐在石屋门前，急忙前去询问僮锦下落。老奶奶告诉他们僮锦藏在太阳山的仙宫里，沿途艰险。

农村姑娘林秀儿凭剪纸手艺，在县文化馆修好专家都修不了的清代剪纸，震惊全场。为救病重母亲，她接下《万里长城》大单，一幅剪纸换来3000块——第一次知道手艺能救命也能挣钱。她办起传习所，带领村里妇女剪纸增收，把没人看好的手艺做成火热生意。

这部纪录片围绕卡拉瓦乔的一幅大型画作（《荒野中的施洗者圣约翰》，又名《施洗者约翰》）展开。我们从复制的角度来审视这幅画作。故事讲述了一幅在深圳复制的该画作，随后这幅复制品到了伦敦一位诗人手中，这位诗人在个人层面上与这幅画产生了纠结，并从画中看到了自己的影子。他的一群艺术家朋友……

这是一部聚焦创作行为的电影，影片中艺术家的情感状态以及其与周遭环境的关联，生动展现了整个创作过程直至最终成果。影片对艺术家的外在行为进行了细致精准的剖析：从自恋式的自我凝视，到对外界展开极富想象力的探寻，直至迎来辉煌瞬间——画面从黑白转为彩色，寓意着人类不再忍受痛苦，而是将其转化为纯粹的创作。

Without any sounds, dialogues and with unknown actors, the images are the focus of this film. Images that want to awake, to question determinant moments, state of a system's languages, the morality of deaths, the immobility, the silence, among other subjects. Shot at the height of the Brazilian military dictatorship, it is an affront to the most diverse types of repression in that period

随着一种名为“极乐”（Bliss）的新型俱乐部毒品出现，谋杀、失踪和离奇事件开始不断增多。