一位运气很衰的演员，在一天内见证了所住的破公寓“杀害”了的n条性命。陪他一起的还有一位创作剧本的朋友，他们希望共同筹划出一部自己出演的理想剧本。二人为了解决当前的窘境，试图圆回公寓内的命案让别人相信这是一场偶然，却越弄越糟。但他们最后发现，也许人们最愿意相信的、最能理解的并不一定是事情最可能发生的结局。与其重写这一天——试图按照所有人理解的那样——不如把自己身上发生的、难以置信的事，如数搬上荧幕，真正出演一部有我出境的影片。

一位运气很衰的演员，在一天内见证了所住的破公寓“杀害”了的n条性命。陪他一起的还有一位创作剧本的朋友，他们希望共同筹划出一部自己出演的理想剧本。二人为了解决当前的窘境，试图圆回公寓内的命案让别人相信这是一场偶然，却越弄越糟。但他们最后发现，也许人们最愿意相信的、最能理解的并不一定是事情最可能发生的结局。与其重写这一天——试图按照所有人理解的那样——不如把自己身上发生的、难以置信的事，如数搬上荧幕，真正出演一部有我出境的影片。

Appunti per un film sull'India is a 1968 short documentary film by Pier Paolo Pasolini where he visits India to do a recces for his proposed film with India as its background about a king who gives up his body to feed a starving tiger. 　　The film was shot around post-independent India when it was facing grave challenges of poverty, population and caste system. Pasolini narrates the challenges of India and its charms amidst all the problems the country faces. The 33-minute-long documentary is composed of short interviews from random people about their opinions on matters such as family planning. The documentary also shows short interviews of journalists and one politician about the challenges India faces in modernizing itself without becoming westernized or losing the Indian identity in the process. 　　The film opens and ends with a shot of a Sikh soldier, who, Pasolini identifies, in his commentary, as the one who would play the role of Maharaja in his film. Among others Pasolini interviewed for his film the former Maharaja of Bhavanagar and his wife and well-known Urdu story writer and filmmaker Rajinder Singh Bedi. 　　The documentary was shot in many places including New Delhi, Jaipur, Rishikesh and Varanasi etc.

Appunti per un film sull'India is a 1968 short documentary film by Pier Paolo Pasolini where he visits India to do a recces for his proposed film with India as its background about a king who gives up his body to feed a starving tiger. 　　The film was shot around post-independent India when it was facing grave challenges of poverty, population and caste system. Pasolini narrates the challenges of India and its charms amidst all the problems the country faces. The 33-minute-long documentary is composed of short interviews from random people about their opinions on matters such as family planning. The documentary also shows short interviews of journalists and one politician about the challenges India faces in modernizing itself without becoming westernized or losing the Indian identity in the process. 　　The film opens and ends with a shot of a Sikh soldier, who, Pasolini identifies, in his commentary, as the one who would play the role of Maharaja in his film. Among others Pasolini interviewed for his film the former Maharaja of Bhavanagar and his wife and well-known Urdu story writer and filmmaker Rajinder Singh Bedi. 　　The documentary was shot in many places including New Delhi, Jaipur, Rishikesh and Varanasi etc.

本部拍摄于1958年的实验先锋电影短片，极具拼贴主义风格。取材自B级片、新闻短片、软性色情片段、新奇的电影短片以及旧好莱坞电影的镜头等。影片中包含了许多毫无关联的空镜头，动物照片混杂着人类的图像，来往的行人穿插拥挤的车流，暴力以及战争。影片构造出严重的失衡感，颠覆了以往的审美取向，却创建出拼凑片段中的独特拼贴主义风格。 　　本片在1994年被美国国会图书馆评为极具“文化、历史和美学的意义”。

本部拍摄于1958年的实验先锋电影短片，极具拼贴主义风格。取材自B级片、新闻短片、软性色情片段、新奇的电影短片以及旧好莱坞电影的镜头等。影片中包含了许多毫无关联的空镜头，动物照片混杂着人类的图像，来往的行人穿插拥挤的车流，暴力以及战争。影片构造出严重的失衡感，颠覆了以往的审美取向，却创建出拼凑片段中的独特拼贴主义风格。 　　本片在1994年被美国国会图书馆评为极具“文化、历史和美学的意义”。

—个异想天开的导演，一个自视清高的演员，一个憨态可掬的摄彫，一个不谙世事的女制片，四个人为了电影梦想齐聚一堂，为了拍摄一部烂片发生了一系列令人啼笑皆非的故事。

—个异想天开的导演，一个自视清高的演员，一个憨态可掬的摄彫，一个不谙世事的女制片，四个人为了电影梦想齐聚一堂，为了拍摄一部烂片发生了一系列令人啼笑皆非的故事。