Included in Jonathan Rosenbaum’s list of 1000 essential films, Parviz Kimiavi’s The Mongols (1973) is a leftfield satire and sharp commentary on the expanding presence of cinema and television in Iran. The story follows a filmmaker, played by Kimiavi himself and also named Parviz, as he struggles with both his own film and a looming assignment to oversee the installation of a television relay station in the remote province of Zahedan. Imbued by his wife’s thesis work on the Mongol invasion of Iran, Parviz’s anxieties coalesce and materialize in the form of surreal visions in which the origins of cinema are acted out by the Turkomans he hired to play Mongols in his own film. Together with Parviz, we watch as the would-be gang of Mongols wander the desert in search of their director and the answers to their pressing questions about the nature of cinema, all while the forthcoming introduction of television consumes the local village and its inhabitants. Kimiavi fashions a fantastical cinematic space rife with bizarre metaphoric imagery and Godardian references to film-making in order to draw a sarcastic parallel between the Mongol invasion and the hyper-accelerated modernization of 1970s Iran. 　　A director of a television series on the history of cinema, who has been grappling with the screenplay of his first feature film, receives an assignment to oversee the installation of a television relay station in a remote region of Zahedan province, near the Afghanistan border. He has already hired Turkoman tribespeople for his film and selected his filming location. Meanwhile his wife, who is working on her Ph.D. dissertation about the Mongol invasion of Iran, attempts to dissuade him from accepting the assignment. One night, while working on his history of the cinema series, the director fantasizes a diagetic world that consists of clever juxtapositions of his different worlds: the history of cinema, the history of the mongol invasion, his own film idea and his imminent assignment to the desert.

一群把腳踏車掛上路燈的狂野少年，一位有強迫症的女人，三個拿著真槍真彈、在週末夜玩俄羅斯輪盤的酒友，加上總是在街角鬼吼高唱的唐氏症少年，組成了這部奇異而帶點哀傷的佳作。導演一鳴驚人的首部長片，精準而幾近「偽紀錄片」式的場面調度，透露了創作者對電影媒體比說故事更有野心的企圖：讓電影成為社會的實驗室。

一群把腳踏車掛上路燈的狂野少年，一位有強迫症的女人，三個拿著真槍真彈、在週末夜玩俄羅斯輪盤的酒友，加上總是在街角鬼吼高唱的唐氏症少年，組成了這部奇異而帶點哀傷的佳作。導演一鳴驚人的首部長片，精準而幾近「偽紀錄片」式的場面調度，透露了創作者對電影媒體比說故事更有野心的企圖：讓電影成為社會的實驗室。

西藏，地球上最神奇的高地，孕育出世界上最神秘的文明。公元7世纪，松赞干布兼并统一了十几个部族，建立了强盛的吐蕃王朝，同时佛教正式传入西藏。然而，在佛教传入之前的悠悠岁月中，这片雪域高原上曾经孕育过怎样的文明形态，达到过怎样的文明高度... 西藏，地球上最神奇的高地，孕育出世界上最神秘的文明。公元7世纪，松赞干布兼并统一了十几个部族，建立了强盛的吐蕃王朝，同时佛教正式传入西藏。然而，在佛教传入之前的悠悠岁月中，这片雪域高原上曾经孕育过怎样的文明形态，达到过怎样的文明高度？在佛教传入之前的西藏，是什么主宰着人们的精神世界？我们要深入历史的黑洞一探究竟。而尘封在历史深处的古老象雄文明由此逐渐走进了我们的视野，为我们揭开古代藏族信仰——苯教的神秘面纱。

1227年成吉思汗死后，他的三个儿子攻占Tuleda城，俘虏了比安卡公主。赫拉克勒斯为了拯救比安卡，比赛故意认输，自己甘愿成为奴隶。不久西方的援军快重新夺回图利达，赶走了成吉思汗的儿子们，解救了赫拉克勒斯。

大型系列纪录片《西藏》分为“神圣疆土”、“盛世新生”、“活佛转世”三大主题，每个主题制作两集，共六集。该系列纪录片系统、清晰、而又深入浅出地阐明了“为什么说西藏自古以来就是中国不可分割的一部分”、“西藏地区民主改革的历史意义”以及“藏传佛教活佛转世究竟是怎么回事”，这三个广受关注、但同时又普遍了解不深、甚至遭到误解和歪曲的主题。

本片根据真实人物改编。第一次来到西藏工作的老孔，急需一个翻译，机缘巧合下，找到了在内地读过书的久美。两个人从互相矛盾到彼此理解，最终成为了一生…

本片根据真实人物改编。第一次来到西藏工作的老孔（宋洋 饰），急需一个翻译，机缘巧合下，找到了在内地读过书的久美（金巴 饰）。两个人从互相矛盾到彼此理解，最终成为了一生的朋友……

以一副古老的唐卡地图贯穿全片，以人物说民俗，用民俗讲故事，从故事看风景的叙事风格，构成了一部真实、平实、自然而又神秘的西藏民俗宝典。这是首部用本土化的眼光、乡情、亲情介绍西藏的纪录片。

西藏被誉为是人类的灵魂圣地，湛蓝的天空，险峻的珠穆朗玛峰，广阔的地域，自由翱翔的秃鹰，释放着人们久经压抑的心灵。这片宁静土地上色彩斑斓的星空，更显示着大自然的美。 　　自由摄影师王源宗只身奔赴藏区，走遍藏区各个角落，耗费一年时间拍摄完成这部震撼唯美的西藏景区延时摄影。