住在冈山的宇野真夏，某天收到了一封神秘来信，信中有张相片，相片上一个穿着碎花连衣裙的女人牵着一个小女孩，相片背后写着“我在回忆里的地方等你”。信中还附有去故乡横滨的车票和酒店预订券。 　　许久没有回到故乡的真夏，好像一切都不顺利：一直见不到的友人；电话打不通的父亲；全是陌生人的聚会；偶然之间相遇又消失的前男友；毫无头绪的“回忆里的地方”。 　　一筹莫展之际，真夏突然在街边的橱窗里看到了照片里女人穿的碎花连衣裙…

住在冈山的宇野真夏，某天收到了一封神秘来信，信中有张相片，相片上一个穿着碎花连衣裙的女人牵着一个小女孩，相片背后写着“我在回忆里的地方等你”。信中还附有去故乡横滨的车票和酒店预订券。 　　许久没有回到故乡的真夏，好像一切都不顺利：一直见不到的友人；电话打不通的父亲；全是陌生人的聚会；偶然之间相遇又消失的前男友；毫无头绪的“回忆里的地方”。 　　一筹莫展之际，真夏突然在街边的橱窗里看到了照片里女人穿的碎花连衣裙…

安德莉亚曾是一名备受瞩目的职业滑雪手。多年前，她的运动生涯戛然而止，原因未明，令体育界大为不解。半生过去，当她再一次目睹训练场上令人不适的境况，安德莉亚决心彻底摆脱过去的幽灵，说出自己年少时在滑雪学校的经历。她的勇气也鼓舞了越来越多的人与她站在一起。导演安东宁·斯沃博达也是一名电影制片人，曾参与制作过《阿依达，你往何处去》《托尼·厄德曼》等作品。本片是他作为导演的第三部长片。

在妻子海伦娜的葬礼上，波兰驻乌拉圭大使维克多遇见久未谋面的老朋友，俄国人奥列格。维克多疑心妻子与奥列格有私情，后者承诺日后去乌拉圭与其面谈。 　　丧事完毕，维克多返回使馆，居心叵测的下属设下一个个圈套，令他备尝生活的苦涩与荒谬。奥列格来到乌拉圭，俩人见面后，多年友谊从此破裂。维克多将被奥列格撕碎的老照片偷来，从残片中看到妻子与奥列格状似亲密。在对患绝症的爱犬实施安乐死后，维克多将妻子的骨灰撒入大海，然后回到使馆将自己反锁于房间。此时，他已拿到照片的另一半，上面是三个并肩欢笑的老友：维克多、海伦娜和奥列格。待工作人员赶到时，维克多已在钢琴旁悄然离世。 　　获奖情况： 　　2005年波兰电影节最佳男配角及评委会大奖 　　2006年波兰电影奖最佳剪辑，最佳配乐，最佳音效，最佳男配角

西班牙剧情短片《不受欢迎的人》讲述了胡莉娅带着她有多动症的儿子达尼参加一个并没有受到邀请的生日派对。派对顺利进行，直到人们因为孩子们之间的攻击行为指责达尼，胡莉娅为保护儿子发起火的故事。

狐妖白逍借用灵珠闭关修炼，只差几天便可功德圆满，却被冒失少女夏葵一跤跌在他身上。白逍不仅修炼被打断，还被当萨摩耶送到宠物医院。宝贵灵珠，亦被夏葵拿走，打算摆到她的淘宝小店上当假古董卖。白逍追到小葵家，灵珠竟以小葵做了宿主，他欲杀夏葵而夺珠，却被夏葵做的红烧肉诱惑。而此时，白逍眼前的世界越来越让他惊奇，不仅红烧肉前所未见，还有电灯，微波炉，完全在其经验之外。原来白逍竟是一只唐朝的狐狸精，一觉醒来，人间已变成现代社会。这就是唐朝妖法遇到现代科技，纵使高冷范儿十足的白逍也露惊慌相。小葵看出他的疑惧和好奇，趁机骗得几日活命时间，以向单恋的学长表白。但令这对啼笑皆非冤家怎么也想不到的是，灵珠现世，竟悄然激活了冰冷都市丛林中无数匪夷所思的奇异妖灵，纷纷前来搅扰。为保灵珠不被抢走，白逍被迫当起小葵的贴身保镖。一个冷面唐朝狐少年，一个呆萌贪财少女，被迫生活在一起，经历这大都市中最诡异的阴谋以及最暖心的情感。

狐妖白逍借用灵珠闭关修炼，只差几天便可功德圆满，却被冒失少女夏葵一跤跌在他身上。白逍不仅修炼被打断，还被当萨摩耶送到宠物医院。宝贵灵珠，亦被夏葵拿走，打算摆到她的淘宝小店上当假古董卖。白逍追到小葵家，灵珠竟以小葵做了宿主，他欲杀夏葵而夺珠，却被夏葵做的红烧肉诱惑。而此时，白逍眼前的世界越来越让他惊奇，不仅红烧肉前所未见，还有电灯，微波炉，完全在其经验之外。原来白逍竟是一只唐朝的狐狸精，一觉醒来，人间已变成现代社会。这就是唐朝妖法遇到现代科技，纵使高冷范儿十足的白逍也露惊慌相。小葵看出他的疑惧和好奇，趁机骗得几日活命时间，以向单恋的学长表白。但令这对啼笑皆非冤家怎么也想不到的是，灵珠现世，竟悄然激活了冰冷都市丛林中无数匪夷所思的奇异妖灵，纷纷前来搅扰。为保灵珠不被抢走，白逍被迫当起小葵的贴身保镖。一个冷面唐朝狐少年，一个呆萌贪财少女，被迫生活在一起，经历这大都市中最诡异的阴谋以及最暖心的情感。

《Bravo My Life》讲述了电视台助理导演、准备七年还未能出道的演员，以及在电视台目中无人的绝对掌权者之间的故事。延政勋将在剧中饰演电视剧PD申东宇，郑柔美则将饰演一直未能升职的助理导演河度娜，显祐将在剧中饰演准备7年都未能出道的演员金范宇。

1997, 75 min., colour, BETACAM SP, Stereo 　　The Japan Foundation, North Foundation, Pandora Co., Ltd (Japan) 　　Special thanks to Hiroko Kodjima 　　scenario: A. Sokurov 　　camera: A. Fedorov 　　sound: S. Moshkov 　　editor: L. Semenova 　　“My journey to your sorrowful country cannot finish… even here in Russia. 　　I can't part with feelings which have captured me… as if my soul had been in search of Beauty and Kindness. If not — what for have I deserved this gift, this meeting… 　　I have arrived in the twilight. The noise of the wind and my tiredness didn't let me fall asleep. 　　I was lying on the floor, there was a small lamp at my head, the bedding had been thrown over the mat. 　　I don't know why, but I began to think about the war, and the scenes of unknown life appeared before me from the past… or, perhaps, from the future; Somebody’s children… somebody's mothers… 　　The summer was warm… 　　Then the morning came, windy, cold and sunny… I examined the house cautiously. It was empty… 　　Then, I remember, I turned back, having heard a creak. 　　It seemed she had not yet noticed me… I decided to come nearer. 　　I can remember well enough, how everything became interesting: walls, utensils, wind, light, sounds — all her life. 　　We agreed that she would let me stay near her all the time All the hours and minutes that I could spend in her old house. I sat near her with her permission. And it was really necessary: I could contem­plate her to my heart's content.” 　　Alexander Sokurov (from the author's text to the film) 　　A myth about lost harmony, which is always with us, though we often cannot feel it, is further developed in this film by Alexander Sokurov. The material used here is concrete and, at first sight, quite fit for TV. The whole work is unhurried and detailed report from an old solitary house, lost in the mountains, in the village of Aska, prefecture Nara, Japan, where an old woman, whose name is Umeno Matshueshi, lives alone. But filmmaker's creative task is quite opposed to the TV information stream. It is not only because this subject, this person couldn't be of any interest for any TV crew in any country (and least of all, perhaps, in modern Japan). 　　Sokurov's camera doesn't watch this character, doesn’t ask any questions, doesn’t surprise her, but extracts uninterrupted poetical image out of the trivial details of this physical reality, out of this extinct life and daily routine. The image is epic and lyrical at the same time. Refined simplicity of Japanese landscape, interior, a series of portraits are not a representation of “couleur local,” but only the sign of ideal technique of the ideal description, allowing to enter this life. The woman, who remains silent throughout the whole film, cooking and eating, kindling the fire and sewing, giving alms and combing her hair before us, recites in the final poem as a prayer: artless and sorrowful tanku about loneliness, about the constancy of losses and gainings. Sokurov shoots this unexpected stroke in his personage's portrait as a lyrical coda of his work.

流落多年的真千金白芷回到何家，使得假千金何香一夜之间失去所有。何香陷入封魔，绑架了白芷并与其交换容貌，假扮白芷回到未婚夫和母亲身边。而顶着何香脸的白芷，却遭遇到了不属于她的苦难，只祈求真相大白的一天