A director makes a film about her family in the little village Villereau in northern France, just by the border to Belgium. She follows what happens in the village during a time of severe crisis, where lack of information creates fear, paranoia and excesses among the villagers and her family. Based on the award winning short documentary Excess Will Save Us, the universe established in that film expands into a feature hybrid film depicting life in the countryside at a time of fundamental crisis in Europe and the Western world. This new account will retain its humor and visual force, but give a deeper understanding of the people that live there and the meaning of returning.

In 1974, the Portuguese and their descendants fled Angola where nationalist groups gradually claimed their territory back. A tribal girl discovers love and death when her path crosses that of a Portuguese soldier. Then, a Portuguese squad is barracked inside a wall from which they will have to escape once the past comes out of the grave to claim its long-awaited justice.

In 1974, the Portuguese and their descendants fled Angola where nationalist groups gradually claimed their territory back. A tribal girl discovers love and death when her path crosses that of a Portuguese soldier. Then, a Portuguese squad is barracked inside a wall from which they will have to escape once the past comes out of the grave to claim its long-awaited justice.

墨西哥母亲玛格达勒娜在前往美墨边境寻找失踪儿子的路途中，遇到了不久前被美国驱逐出境的男子米格尔。玛格达勒娜寻子，而米格尔则希望能再见他母亲一面…

In 1991, when images of the Gulf War flooded the international media, it was virtually impossible to distinguish between real pictures and those generated on computer. This loss of bearings was to change forever our way of deciphering what we see. The image is no longer used only as testimony, but also as an indispensable link in a process of production and destruction. This is the central premise of Erkennen und Verfolgen, which continues the deconstruction of claims to visual objectivity 　　In War at a Distance, Farocki returns to themes explored in works such as Images of the World and the Inscription of War, bringing them technologically up to date. The automation of factory production is paralleled with the automation of destruction in warfare, and a new world of machine images is revealed – images not intended for human eyes, but for the visual tracking systems of the digital age. The video traces the history of missile guidance systems from WWII through the present day using visual artifacts of machine guidance systems, as well as training films, missile footage from the Gulf War, and flight and battle simulations. A coolly terrifying glimpse of the future.

缘起戏话一幕联想，试听不同思维角度。抛却抽象的概念，还原真实的人物。这里有满嘴喷粪的刘邦，还有心狠手辣的吕后；既有明哲保身的张良，还有死于非命的韩信。你知道，刘邦曾经靠ps的画像逃过一劫吗？你知道，吕后曾经赐死自己的亲孙子吗？《袁视角》给你讲述不一样的历史！

缘起戏话一幕联想，试听不同思维角度。抛却抽象的概念，还原真实的人物。这里有满嘴喷粪的刘邦，还有心狠手辣的吕后；既有明哲保身的张良，还有死于非命的韩信。你知道，刘邦曾经靠ps的画像逃过一劫吗？你知道，吕后曾经赐死自己的亲孙子吗？《袁视角》给你讲述不一样的历史！

为研究俄罗斯狩猎传统，芬兰年轻人莱沃来到俄罗斯，被朋友邀请加入一支由各色人等组成的打猎队伍。当莱沃发现，猎人们随身携带的主要是伏特加后，莱沃意识到，事情和他期待的有所不同……

Several friends (General Ivolgin, huntsman Kuzmich and Leva Soloveychik) decide to spend their vacation by fishing. Taking with themselves a large helping of vodka, they sail off, but quickly find themselves without much understanding as to their present location. Finally reaching some shore, which they mistakenly believe is still Russia, but which in reality happens to be neighboring Finland, they get off the ship and spend some time on the shore, eventually falling asleep. Not without the effect of previously consumed alcohol, the friends manage to forget their supplies of vodka as they sail off the shore. The quantity of forgotten goods being sizable (15 cases, with each case traditionally holding 20 bottles), they now face the challenging task of getting back their belongings, which now happen to reside across the border in a different country.