The Armenian nation suffered two great catastrophes in the last century. In the First World War it was the genocide carried out by the Turks; in 1988 it was a devastating earthquake. After Armenia was able to finally achieve independence, over a million people left the country. Gravedigger Garnik, stonecutter Arut, orthodox priest Tatul and little Varuzh, however do not intend to leave their homes. They spend their days in the giant cemetery in the town of Giumri, which had been almost completely destroyed by the earthquake. In scenes of lyrical images, renowned documentary filmmaker Alexander Gutman effectively explores the borders between a town that is both and alive and dead and between childhood and adulthood. The combination of black and white, color, and yellow-black footage intensifies this gradually emerging insight into the Armenian soul. 　　Frescoes was shot in a small Armenian city that was almost completely destroyed by an earthquake in 1988. Soon after that tragedy, Armenia gained independence. The earthquake destroyed one city, but built another: the city of the dead, the cemetery. The central figures of the film are a young boy, a priest, a gravedigger and two stonemasons, who spend their days at the cemetery. Contrary to what one would expect, this is not only a place of death. There are conversations about the big and small things in life; people drink and laugh; a birthday celebration is held. The boy’s baptism and a flock of white doves released at a wedding ceremony symbolise the optimism and vitality of this small community and, by extension, the whole of Armenia.

Edited screen tests of Parajanov's unfinished film. On the twentieth anniversary of the liberation of Kiev from the Nazis, a film director pays a stevedore to deliver a bunch of flowers to a general. By accident the director gives the wrong address and the stevedore delivers the flowers to a war widow who is currently working at an art museum.

It’s all the rage to evoke spectacular ‘immersive’ cinema today, but nothing matches the immersion effect of a Siegfried A. Fruhauf film. Agglomerating the textures of cave surfaces with the material traces of filmic processes, Cave Painting offers a trippy visual and sonic journey for the senses that evokes an avant-garde, grunge version of the psychedelia in Stanley Kubrick’s 2001: A Space Oydssey. Don’t blink, or you’ll miss something good. As always, Fruhauf conjures a new world. 　　源自：https://iffr.com/en/iffr/2023/films/cave-painting

2006年2月，在图坦卡门国王统治时期的首座坟墓被发现后，大西洋制作公司即对此进行报道。考古队伍发现了七具木乃伊，二十八个密封的储藏罐，一个美丽的金棺材和一些有史以来发现的最迷的文物。他们将揭示一个被遗忘的世界。由于条件恶劣，沙尘暴以及高达150华氏度的气温，考古团队不得不停止挖掘。 2009年，为了检查他们的考古发现，打开4000年前的密封罐，他们再次进入墓穴。他们将解答最大的谜团：被埋在这里的究竟是什么人？扎西·哈瓦斯博士相信这个墓室与图坦卡门国王有关。

夏令營的生態也是好殘酷的！夢中情人不看他、高年級生霸凌他，連老師都懶得理他，男孩憂鬱但並不害怕，因為他知道在森林深處，某種未知的野性力量隨時準備做他的靠山……自己也玩音樂的導演請來獨立搖滾樂團Eels跨刀，為充滿奇趣幻想的男孩心事添上獨樹一格的配樂，交織出一首個性十足的影像短詩。

夏令營的生態也是好殘酷的！夢中情人不看他、高年級生霸凌他，連老師都懶得理他，男孩憂鬱但並不害怕，因為他知道在森林深處，某種未知的野性力量隨時準備做他的靠山……自己也玩音樂的導演請來獨立搖滾樂團Eels跨刀，為充滿奇趣幻想的男孩心事添上獨樹一格的配樂，交織出一首個性十足的影像短詩。

n the 20th century, no artistic medium in North America with so much potential for creative expression has had a more turbulent history plagued with less respect than comic books. Through animated montages, readings and interviews, this film guides us through the history of the medium from the late 1930s and 1940s with the first explosion of popularity with the superheroes created by great talents like Jack Kirby and hitting its first artistic zenith with Will Eisner's "Spirit". It then shifts to the post war comics world with the rising popularity of crime and horror comics, especially those published by EC Comics under the editorshiop of William B. Gaines until it came crashing down the rise of censorship with the imposition of the Comics Code. In its wake of the devastation of the medium's creative freedom, we also explore EC's defiant survival with the creation of the singular "Mad Magazine" by Harvey Kurtzman. We then move to the resurgence of the superheroes in the late 1950's and 1960's typified with the rise of the dramatically innovative Marvel Comics edited by Stan Lee. Still more important is the rise of the the gleefully uninhibited underground comics created by eccentric talents like Robert Crumb and Dan O'Neill. These leads to profiles of creaters like Harvey Pekar who take the medium into new directions of expression. In the late 1970s and '80s we see the rise of alternative comics with such bold talents like Jaime Hernández for "Love and Rockets, Sue Coe for How to Commit Suicide in South Africa and especially for Art Spiegelman for his searing Pulitizer Prize winning Holocaust account, Maus. Finally, we learn of the medium's superhero mythos' revitalizing moment with the creation of Frank Miller's ferocious min-series "Batman: The Dark Knight Returns". Taken together, the film makes its arguement that the medium is far more than the stereotype of juvenile trash but rather it is an artform with a wild history and an exciting future.

该记录片于1994年获得年度中国新闻奖一等奖。 　　刘玉安老师是壁画家，以他的学生为原型创造壁画《和平·进步·自由》。其中的牵马人是他的学生陶先勇。陶先勇不幸得了骨癌。刘玉安一直帮助他照顾他直到陶先勇生命终结。陶先勇一直有个愿望，希望能去看一看大海。可这个19岁的青年最终也没有见过大海，成为终生遗憾。但是，谁能说在他生命的进程中，他没有体验过大海的宽阔和温柔呢？凡人和伟人都只有一次生命，让我们热爱生命，珍惜生命吧，珍惜人世间的每一份友情。

陈松林，戴铁郎动画设计。 　　影片根据安徽农民画中“战胜旱灾，水灾，风灾“三幅壁画为基础改编，讲述农民战胜自然灾害，夺得农业丰收的故事。影片虽然带有大跃进时期特有的方卫星的浮夸，比如粮食堆得象小山，一只辣椒两人抬，一颗白菜用车拉，把人定胜天的观念无限放大，但是创作者能把农民画的朴实感，稚气感，人性造型夸张等特点，创造性整合使用，风格协调统一，也是在风格样式上有所创新，在用民族形式表现现实题材的创作上，取得一定经验。

本片将一群不拘一格的艺术家、评论家和学者带到了英国郊外，来了解英国人是如何通过艺术来描绘本国的美丽风光的，探究为何英国田园画能到达到如今的崇高地位和影响力。从查尔斯五世时期的佛兰德斯人到数字时代大卫霍克尼的iPad，英国田园风景画将英国的光辉历史显露无疑。电影制作人尼克罗格，历史学家丹斯诺，小说家威尔赛尔富等名人都参与到本片的拍摄中。