Boasting the longest title in the Quays' entire output, this 1985 film is generally known as This Unnameable Little Broom, though the Quays themselves refer to it as Gilgamesh. It began life as a proposed hour-long Channel Four programme exploring aspects of the ancient Babylonian Epic of Gilgamesh, the oldest known surviving work of literature, which would combine puppet animation, dance sequences (courtesy of choreographer Kim Brandstrup) and live-action documentary elements. However, Channel Four were dubious about the project, and only agreed to fund a short animated sequence as a pilot - which is all that was ultimately made. 　　But even when divorced from the original planned context, This Unnameable Little Broom stands up very well on its own as a short parable of cruelty and oppression. The Gilgamesh character is portrayed as a childlike figure, seemingly welded permanently to a tricycle, with a grotesquely swollen head that, Picasso-like, simultaneously presents both a profile and a frontal view. His 'kingdom' is a box-like construction, seemingly suspended in mid-air, with a distant forest just out of reach. 　　At the start of the film, Gilgamesh sets various elaborate snares to lure Enkidu, the forest creature, into his domain. These range from conventional booby-traps to altogether more unsettling creations, notably the desk drawer containing what appears to be a detached, pulsing vagina (the Quays' typically oblique reference to the point in the original legend where Gilgamesh sends a prostitute to seduce Enkidu). Enkidu himself is a bird-like creature, partly made up of genuine animal skeletons, whose wide-eyed guilelessness proves his downfall. 　　The film had numerous inspirations besides the Gilgamesh legend. The frenzied viciousness that pervades the film was a tribute to Austrian writer Konrad Bayer, the design of Gilgamesh was sourced from artwork by Heinrich-Anton Müller, one of a trio of 'outsider artists' (the others being Friedrich Schröder-Sonnenstern and Adolf Wölfli) that the Quays originally intended to dedicate their film to, but shyness prevented them. 　　However, they weren't too shy to include a back-handed swipe in the title - 'Hunar Louse' is a satirical representation of Lunar House in Croydon, the headquarters of the Home Office's Immigration and Nationality Directorate, which called the Quays' visa status into question at the time they were making the film. Though this was alarming at the time, the experience helped fuel the paranoid, Kafkaesque atmosphere that pervades their film.

Boasting the longest title in the Quays' entire output, this 1985 film is generally known as This Unnameable Little Broom, though the Quays themselves refer to it as Gilgamesh. It began life as a proposed hour-long Channel Four programme exploring aspects of the ancient Babylonian Epic of Gilgamesh, the oldest known surviving work of literature, which would combine puppet animation, dance sequences (courtesy of choreographer Kim Brandstrup) and live-action documentary elements. However, Channel Four were dubious about the project, and only agreed to fund a short animated sequence as a pilot - which is all that was ultimately made. 　　But even when divorced from the original planned context, This Unnameable Little Broom stands up very well on its own as a short parable of cruelty and oppression. The Gilgamesh character is portrayed as a childlike figure, seemingly welded permanently to a tricycle, with a grotesquely swollen head that, Picasso-like, simultaneously presents both a profile and a frontal view. His 'kingdom' is a box-like construction, seemingly suspended in mid-air, with a distant forest just out of reach. 　　At the start of the film, Gilgamesh sets various elaborate snares to lure Enkidu, the forest creature, into his domain. These range from conventional booby-traps to altogether more unsettling creations, notably the desk drawer containing what appears to be a detached, pulsing vagina (the Quays' typically oblique reference to the point in the original legend where Gilgamesh sends a prostitute to seduce Enkidu). Enkidu himself is a bird-like creature, partly made up of genuine animal skeletons, whose wide-eyed guilelessness proves his downfall. 　　The film had numerous inspirations besides the Gilgamesh legend. The frenzied viciousness that pervades the film was a tribute to Austrian writer Konrad Bayer, the design of Gilgamesh was sourced from artwork by Heinrich-Anton Müller, one of a trio of 'outsider artists' (the others being Friedrich Schröder-Sonnenstern and Adolf Wölfli) that the Quays originally intended to dedicate their film to, but shyness prevented them. 　　However, they weren't too shy to include a back-handed swipe in the title - 'Hunar Louse' is a satirical representation of Lunar House in Croydon, the headquarters of the Home Office's Immigration and Nationality Directorate, which called the Quays' visa status into question at the time they were making the film. Though this was alarming at the time, the experience helped fuel the paranoid, Kafkaesque atmosphere that pervades their film.

有个惊吓过度的小女孩在沙漠游走，唯一吐出的只有一个字：怪物！任何50年代恐怖片迷都会马上告诉你，她所指的”怪物”就是巨蚁，那是在当地核子试爆后的副产品。这些巨蚁非常有组织，嗜肉且体型巨大，约有8到20呎，它们群聚在洛杉矶的下水道系统，彷若一个巨大的蚂蚁园区，准备好要接管这个世界。要和这些怪物对抗的人类精英是新墨西哥警署探员詹姆斯惠特摩，联邦调查局代表詹姆斯亚尼斯，和一对由埃德蒙关恩和乔安妮威尔登所饰的父女档昆虫学家。

有个惊吓过度的小女孩在沙漠游走，唯一吐出的只有一个字：怪物！任何50年代恐怖片迷都会马上告诉你，她所指的”怪物”就是巨蚁，那是在当地核子试爆后的副产品。这些巨蚁非常有组织，嗜肉且体型巨大，约有8到20呎，它们群聚在洛杉矶的下水道系统，彷若一个巨大的蚂蚁园区，准备好要接管这个世界。要和这些怪物对抗的人类精英是新墨西哥警署探员詹姆斯惠特摩，联邦调查局代表詹姆斯亚尼斯，和一对由埃德蒙关恩和乔安妮威尔登所饰的父女档昆虫学家。

1870年秋，大哥(李连杰 饰演)一身官服，在城墙顶俯瞰自己的就职典礼舞台；充满理想、胸怀壮志的他，如果没有走上这条不归路，极可能是推翻腐败清庭的新中…

At the race track, various spectators (all Goofy lookalikes) are playing the ponies. A posh rich Goofy bets on the equally posh Snapshot III while another more common looking Goofy bets on the bedraggled Old Moe. When the race begins, Snapshot and the rider are so overconfident they wait a few minutes after the race has begun to start running. When they finally do get going, Snapshot is not above stooping to dirty tricks such as tripping and biting the other horses. Sadly, Snapshot's vanity is what costs him winning the race (he stops to pose for the photo finish) and Old Moe is declared the winner.

女人一生排出的卵子大概只有400顆，那些沒被受精的卵子，是痛苦？是遺憾？還是新生命的希望？女人的子宮與卵子，何時才能真正屬於女人？

女人一生排出的卵子大概只有400顆，那些沒被受精的卵子，是痛苦？是遺憾？還是新生命的希望？女人的子宮與卵子，何時才能真正屬於女人？

这是发生在我堂哥婚礼前后两天的故事。 　　因为道士说我的生肖和婚礼日子相冲，为了让婚礼顺利进行，我不得不独自待在一个房间内，而那个房间的门口，在那几天时间里，成为我和外面世界交流的唯一渠道，你们能看见的人和事，也是我能看见的全部世界。

这是发生在我堂哥婚礼前后两天的故事。 　　因为道士说我的生肖和婚礼日子相冲，为了让婚礼顺利进行，我不得不独自待在一个房间内，而那个房间的门口，在那几天时间里，成为我和外面世界交流的唯一渠道，你们能看见的人和事，也是我能看见的全部世界。