"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

"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。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。

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。

叙述在中日战争末期的台湾，一个小混混（柯俊雄饰），在目睹全镇人奋力协助中国政府对抗日军后，大彻大悟，决心做个顶天立地的中国人，最后以身殉国。这部影片与其它抗日片不同之处，是以梅花作为象征国族的叙事中心，然后再以此中心，作为人物描绘和情节发展的基点。首先是小学老师（胡茵梦饰）的殉节。胡被误会与日本军官有染，在家人和镇民不容之下，跳水自杀。全镇在了解真相后，为她举行追悼式，全体在小学生的引导下，合唱《梅花》……

林聚光和妻子文英结婚多年，两人刚刚喜得一子取名为林继先，一家人沉浸在新生命降临的喜悦气氛之中。日本人池田是夫妻两人的旧友，某日，他带来一个坏消息，日军要在林家祖坟上建造发电厂，因此要求林家以及其余三家人将祖坟牵走。愤怒的林父一行人找到日军理论，却惨遭杀害。 　　战争开始了，林聚光参军奔赴前线，文英则接替了丈夫教书匠的工作。池田的存在让文英被人误认为是汉奸，惨遭羞辱，愤而自杀，一直爱慕林聚光的小惠收留了幼小的林继先，精心的照料着他。林聚光的弟弟林聚勇一直被认为是贪生怕死爱慕虚荣之徒，然而竟然是他成功炸毁了日方的发电厂，并因此锒铛入狱。抗战胜利了，林聚光回到了家乡，然而，此时他的身边已经伴有了名为明珠的女子。

Myriam welcomes young men, women and couples to her luxury house in the Dutch countryside and has sex with them.

Myriam welcomes young men, women and couples to her luxury house in the Dutch countryside and has sex with them.