美籍亚裔艺术家郑明河通过上世纪九十年代初拍摄的中国农村素材，对这个国家丰富而复杂的历史进行了反思。

One fascinating facet of late capitalism is that it can take in almost anything and sell it back to us for profit. Particularly in Europe and North America, this has seen the absorption of drag culture and its commodification as mildly irreverent, high-ratings entertainment. Its significant value in normalising gender fluidity notwithstanding, that version of drag loses its inherent radicality, as a repudiation of the very foundations of oppressive social structures. 　　Avant-Drag! paints portraits of nine drag artists of varying gender expressions and sexualities who take to the streets of Athens to query, problematise and (yes, please!) undermine social strictures. Employing wildly imagined personas – like riot housewives and Albanian turbo-folk girls – who perform acts as revolutionary as praising abortion and as charming as drawing childish pictures, these artists call for social justice by taking aim at conservatism, patriarchy, patriotism, racism and sexism. 　　A line from the film’s exquisite punk-poetic narration describes this impulse perfectly: it’s “a demand to change the world that comes from the past, looking straight into the future.” And, lest you be concerned, have no fear that there is no shortage of gloriously outlandish outfits and towering high-heeled boots. This is drag, after all.

塔维是个有钱而喜欢艺术的年轻人，走到哪里都随身带着自己的摄象机。他和狂热的朋友组建了一个俱乐部，规则很简单：每次聚会时，成员都必须带一盘记录最近一次性狂欢的录象带。但是这个初衷是游戏的玩意渐渐变成危险的困局……

2008年7月的北京，在距奥运会开幕越来越近的日子里，上班途中的中国美术馆馆长的思绪并没有离开在2008年一月的敦煌艺术展……

讲述五十年代初期美国纽约的一群有抱负的年轻艺术家的人生经历。

一个面积相当于一个大陆的国家,拥有13亿人口,如何去了解这样一个国度,以及塑造她的各种力量?探索中国的艺术无疑是最好的方法。中国山水中透出的宁静平和是古代诗人与画家的心灵港湾,凭借一个世纪以来考古学上的惊人发现,中国人凭借双手创造出的最引人注目的杰作从尘土中苏醒，中国古代艺术由此揭示了这个国家的文化之根。

一个面积相当于一个大陆的国家,拥有13亿人口,如何去了解这样一个国度,以及塑造她的各种力量?探索中国的艺术无疑是最好的方法。中国山水中透出的宁静平和是古代诗人与画家的心灵港湾,凭借一个世纪以来考古学上的惊人发现,中国人凭借双手创造出的最引人注目的杰作从尘土中苏醒，中国古代艺术由此揭示了这个国家的文化之根。

中国绘画艺术历史悠久，源远流长，经过数千年的不断丰富、革新和发展，以汉族为主、包括少数民族在内的画家和匠师，创造了具有鲜明民族风格和丰富多彩的形式手法，形成了独具中国意味的绘画语言体系，在东方以至世界艺术中都具有重要的地位与影响。

In this four and a half hour documentary or filmic tavelogue, Ulrike Ottinger tries to impart new ways of seeing a foreign culture. "In my previous films I have dealt with the themes of exoticism, minorities and their differing role behaviour within their own culture. Now I am interested in expanding this theme, in getting to know a 'real exoticism' in a foreign land and in a different culture. I am attempting to conduct a visual discourse with my camera about exoticism as a question of point-of-view. 　　In making the film, I was influenced by Chinese naturepainting: by the use of the scroll, which not only demands a different method of painting, but a different way of viewing - rolling out the scroll, focusing in on details, wandering to and fro, viewing piecemeal. So if I was filming a market square, for example, I'd pan very slowly and steadily across the square, rather than trying to capture the image in toto. 　　– Ulrike Ottinger

建造在淤泥、伊斯特拉石、潟湖与水系之上的威尼斯在建城1600年后，仍然传奇不减。它的独特之处在于仿佛刻入基因的矛盾之美：一面是使之列入《世界遗产名录》的昔日辉煌，另一面则是仍然无限向往着的前卫与先锋。 　　这部纪录片由迪迪·尼奥基（Didi Gnocchi）原创故事改编，米歇尔·玛丽（Michele Mally）导演，从威尼斯的巨大遗产中汲取灵感。有容纳杰作和历史遗存的佩萨罗宫、海关大楼、科雷尔博物馆，有从乔尔乔内和提香引领的威尼斯画派，到丁托列托、维罗内塞的继承和反叛。威尼斯是卡纳莱托笔下真实与虚幻交织的风景，詹多梅尼科·提埃波罗壁画《新世界》（Il Mondo Novo）中展示的西洋镜，人们蜂拥而至，在神秘的透视感和光学幻觉中，惊叹于未来世界馈赠的奇迹。至今，威尼斯的灵魂仍然活跃在爵士乐时代和百老汇黄金时期的音乐剧中，活跃在最美丽的古典殿堂威尼斯凤凰歌剧院里，活跃在威尼斯双年展和电影节上，甚至班克斯的街头涂鸦中。 　　伴随着意大利戏剧大师卡洛·塞奇（Carlo Cecchi）的脚步与年轻的波兰钢琴家阿妮亚·拉尼（Hania Rani）的旋律，威尼斯的过去与未来纷至沓来。它从来没有因为固守单一的历史身份而变得僵化，而是借助本地人和旅居者的创造力，以反叛的姿态不断重塑自我，永远前卫。