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…

这部黑暗恐怖剧集出自《鬼入侵》和《午夜弥撒》的创剧人之手，改编自埃德加·爱伦·坡的作品。在该剧集中，冷酷无情的兄妹罗德里克和马德琳·亚瑟将他们的制药公司打造成了一个充满财富和特权的王权帝国。但亚瑟王朝的继承人开始陆续在年轻时死于神秘女子之手，过去的秘密也逐渐浮出水面。

这部黑暗恐怖剧集出自《鬼入侵》和《午夜弥撒》的创剧人之手，改编自埃德加·爱伦·坡的作品。在该剧集中，冷酷无情的兄妹罗德里克和马德琳·亚瑟将他们的制药公司打造成了一个充满财富和特权的王权帝国。但亚瑟王朝的继承人开始陆续在年轻时死于神秘女子之手，过去的秘密也逐渐浮出水面。

韩国著名女艺人金来到泰国普吉岛旅游，她拥有足够的时间在这里休闲度假。在这里，她遇到了并非期待中的情人Pong。Pong是一名酒店司机，他开着车带着金把普吉府玩了个底朝天。尽管两人彼此之间用着不太流利的英文交流着，但这并没有阻碍他们俩共谱一段忘年恋。

韩国著名女艺人金来到泰国普吉岛旅游，她拥有足够的时间在这里休闲度假。在这里，她遇到了并非期待中的情人Pong。Pong是一名酒店司机，他开着车带着金把普吉府玩了个底朝天。尽管两人彼此之间用着不太流利的英文交流着，但这并没有阻碍他们俩共谱一段忘年恋。

苏浩梦见爷爷在地府造反，拿着大砍刀追着自己索要军费，并且派了白无常安萍儿来保护自己；苏浩在帮助爷爷造反和解决各种危机的过程中不断成长，最终粉碎了东洋黄泉、西方地狱妄图颠覆地府的阴谋。

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.

本片的副标题是“一个孕妇的日记”，片头上有这样一段字幕：“阿涅斯·瓦尔达1958年拍摄于巴黎。在先贤祠后面，圣太田杜蒙和圣梅达尔教堂之间，穆府达街（la rue Mouffetard）穿过一个街区，这个街区借穆府达街的名字而取名为穆府（Mouffe）。”影片记录了这个街区的日常生活景象（咖啡馆、食品店、传统集市……），以及一个孕妇眼中的街区居民（流浪汉，酒鬼，卖花女，情人……）。 　　这部影片拍摄于1957至1958年冬，缘自1958年布鲁塞尔国际博览会实验电影展组委会向瓦尔达发出的参展邀请，片名来自德国电影导演乔治·威廉·派伯斯特改编自布莱希特歌剧的影片《三文钱的歌剧》。这部融纪录与搬演于一体的影片具有十分鲜明的主观视点，瓦尔达曾在回忆影片的拍摄经过时说：“由于当时我已经怀孕，于是这部影片回答了这样一个问题：在穆府附近，一个孕妇会有什么样的世界观呢？……”瓦尔达是在自己非常熟悉的街区拍摄这部影片的，但是此时，在瓦尔达眼里，这个街区的老人和流浪汉以及所有人都曾经是婴儿。

幕府歌劇是一位懷孕女人的筆記，它是關於巴黎一條優美小街叫幕府達（Mouffetard）的故事，Varda 暱稱它為–幕府（La Mouffe）。那裡到處都是傳統的巿集、咖啡廳和麵包店…。 　　1958年 Bruxelles 的萬國博覽會有一項實驗電影的展覽，主辦單位希望 Varda 能有影片參加，這給了她一個拍片的動機。帶著一張鐵製的折疊椅，和一台借來的 Paillard 付有三個鏡頭之轉盤的十六釐米攝影機，外加一個照相用的腳架，Varda 獨自一個人便拍了起來。當時懷孕的她於是決定以很個人化的眼光去拍這條她很熟悉的街道。流浪漢已經是一個導演所觀注的主題，觀眾也一定很快就會發現，片中 Varda 對人的關注遠勝於風景。在她的眼中，所有這些路上的老人和流浪漢都曾經是嬰兒。本片的片名來自 Pabst 改編 Brecht 的《四便士歌劇》。如今這條悠美的街道早已成為巴黎著名的觀光聖地，1993年又再度出現在 Kieslowski〔奇士勞士基〕的《藍色情挑》裡，但景緻已經截然不同。 　　Varda 曰： 　　『因為當時我懷孕，於是影片正好回應了這樣一個問題：在幕府附近，一個懷孕的女人該會有甚麼樣的世界觀呢？（……）那應該是一個充滿希望的世界與真正絕望間的矛盾。整部影片都是源自於懷孕這一個非常簡單的概念。懷孕是一件可以使想像力質變–直到成為精神官能症的事情。也就是讓它存在於一種充滿活力的狀態。影片一直保持著一種不協調作品的語調。我有一個很快樂的懷孕過程，我將它轉換成一個幕府的女人可能會有的情境。敏感度不是我們所體會到的，而是我們所可能體會到的。』 　　與 Raymond Bellour 和 Jean Michaud 對談，CINÉMA 61, n°60, 1961年10月