In this fourth of a four part series, media artist Harun Farocki explores the interplay between modern warfare and electronic media using computer simulation and documentary footage. Originally presented as a simultaneous four-screen gallery video installation, the separate films are available exclusively on realeyz.tv. Director's Notes to part IV: “This chapter considers the high degree of similarity between the images used in briefing for war and those used in debriefing once it’s over. There is one difference, however: the program for recalling traumatic experiences is slightly cheaper. Here, nothing and nobody casts a shadow.” (Harun Farocki)

In the 1910s, journalist Arvid Stjärnblom and painter's daughter Lydia Stille fall in love with each other.

“Immersion” shows a variation of the same training program. In this case it is recreating the traumatic experiences of soldiers during the war for therapeutic purposes. The soldiers are being trained and rehabilitated through virtual reality recalling their memories. Immersion was flmed in Fort Louis, near Seattle, during a treatment of PTSD.

In the autumn of 2009 we filmed a drill at the Marine Corps Base 29 Palms in California. Four Marines sitting in a class represented the crew of a tank. They had laptops in front of them on which they steered their own vehicle and watched others in the unit being driven through a Computer-AnimationLandscape. The simulated Afghan is based on geographical data out of Afghanistan. A street in the computer landscape runs exactly as it would in the real Afghanistan; the same holds for every tree, the vegetation on the ground or the mountain ranges. The instructor places explosive devices and sets insurgents out in the area. A sniper shot the tank gunner, which we documented with the camera. When the tank drives over the fallow it kicks up a dust tail. The more vegetation there is, the less dust. On the asphalt street, no dust. Even with all this attention to detail, death in the computer game is still something different than the real one.

This is a collection of five satyrical short films, including little intermision talk: 1) "Kak Sozdavalsya Robinzon" (How Robinson was Created) - writer is comissioned to make soviet version of Robinson Cruzoe; 2) "Istoriya s Pirozhkami" (Incident with Pastries) - customer has problems paying for pastries, because he has eaten them before getting to the counter; 3) "Inostrantsy" (Foreigners) - about russian people who want to be more like western people; 4) "Priyatnogo Appetita" (Bon Appetit) - one episode for restaurant life; 5) "Pyos Baros i Neobchainy Kross" (Barbos the hound and Unusual Cross-country Race) - first appearance of later famous Morgunov/Nikulin/Vitsin trio in tale about fishing with dinamite instead of fishing rods

这是一部广受赞誉的电影制作人打造的扣人心弦的心理惊悚片。在大卫·巴克对类型片进行严谨且极具个人风格的重新演绎下，《白昼》（Daylight）讲述了一对迷失在美国的情侣与一群诡计多端的绑匪斗智斗勇的故事。尽管它有着常见的类型片元素，但《白昼》却别具一格——这是一部充满力量、令人震惊的活力之作，它将情色与柔情融合在一起……

Amid an escalating feud in a rural Taiwanese village, a boy struggles to protect his secret friendship with his Singapore-raised best friend as adult conflicts threaten to tear them apart, while he quietly begins to question the true nature of his feelings for his friend.

《懸日掛月》以短片《懸日與掛月》為基礎延伸為長片，透過處於大人世界紛爭中兩位男孩間的友誼發展與經歷，從人與人之間最原始單純的情感反思全球化及資本社會為人們帶來的價值觀差異與情感衝突。

一位独居老人与在城里居住的女儿约定一起为老伴烧纸。白天阳光很好，积雪都开始融化，但太阳落了山后，女儿和孙子便离开了，老人又重新回到一个人的夜晚。日光在白天照的暖洋洋的，温暖却在夜一降临的时候就消散了。

Again, in 29 Palms, we embarked on an exercise with around 300 extras who represented both the Afghan and Iraqi population. A few dozen Marines were on guard and went out on patrol. The town where the maneuver was carried out was on a slight rising in the desert and its buildings were made from containers. It looked as though we had modeled reality on a computer animation.