一位自私自利的凶杀案侦探摇身一变成为畅销书作家，他与自己的爱人携手追寻他所追捕过的最凶残的连环杀手，在此过程中，他自己的理智也逐渐崩溃。

"The Theme" is a film that had to stay on the shelf for almost ten years because of its "theme". Mikhail Ulyanov plays Kim Yesenin, a disillusioned and cynical playwright who uses the system by writing the conformist plays and enjoys the benefits of being the officially recognized and appointed "great Soviet writer" but who in reality has been used by a system and spent all the talent he ever had in writing the plays that had no artistic value whatsoever. Bitter irony lies in the name of the character: Sergei Yesenin was a real life enormously talented, widely popular and beloved Russian poet who committed suicide at the age of 30 in 1925 because he could not fit in the Soviet Russia. Kim Yesenin in the movie suffers the writing block and arrives to the small provincial town with a friend and a young mistress in search of inspiration. He meets an attractive, intelligent and well educated museum guide named Sasha (Inna Churikova never looked so beautiful and sophisticated and I finally understood why Panfilov always had been fascinated by her face, never conventionally pretty) who used to be a big fan of his earlier works but has a lot of unflattering things to say about his officially praised outings. Sasha is in love with a talented historian who had made a very difficult and life changing decision to emigrate from the Soviet Union. He had lost his job by becoming a dissident and had to work as a gravedigger to support himself while waiting for permission to leave the country. Those who never had to emigrate from their country knowing that they might leave forever and never be allowed to go back to see their loved ones and the places dear to their heart again would not fully understand why Panfilov's film had to stay on the shelf for almost ten year after it was completed. It was released only during the "perestroika" in 1987 and I saw it then. I respect Panfilov for his siding with the real artists rejected by the system but his film is not only a courageous statement against the conformity suffocating cultural life under the Brezhnev regime which would be later called "period zastoya" or "stagnation", it is a memorable work of cinema with very good performances from his muse, Inna Churikova, Mikhail Ulyanov, and supporting cast.

金·叶赛宁遭遇创作瓶颈，便带着朋友和年轻情人前往一座偏远小镇寻觅灵感。他邂逅了名叫萨莎的博物馆导游，萨莎美丽、聪慧且受过良好教育。萨莎曾是潘菲洛夫早期作品的忠实拥趸，却对其那些广受赞誉的作品颇有不满。萨莎爱上了一位才华横溢的历史学家，这位历史学家做出了一个艰难且改变人生的抉择——离开苏联，他因成为异见人士而丢了工作，只能靠挖墓维持生计，同时等待离境许可。

2012年同济毕业季作品。

一名神秘的教师来到了一座外省小镇的学校教书。但这名老师并没有老师的样子，他对事物的看法过于现代和自负。但整座小镇都很喜欢他，喜欢到超乎他的想象。

在这部电影中，查尔斯·德库克雷尔（Charles Dekeukeleire）将古代和现代大师的肖像与电影中真实人物的肖像进行了比较，以证明“人们的灵魂在几个世纪里没有改变”。“灵感”不断从现在跳到过去“不可否认，这两部电影都以前卫电影为标志，德克凯雷尔以《日尔曼·杜拉克》风格的诗歌电影和各种蒙太奇电影为其贡献了力量，这些电影与鲁特曼电影和苏联电影的密切关系，而非20世纪30年代纪录片的新趋势。”，史蒂文·雅各布斯的《比利时艺术纪录片》（第36页和第37页）这部电影获得了1938年威尼斯国际电影艺术展的金奖。

Paris, present day. David Zimmerman, in his thirties, is constantly on the edge of his life. He’s a photographer, but almost no one knows this, confined to weddings and bar mitzvahs. On the evening of December 31st, he lets himself be swept away by a huge party by his only friend, Harry, as exuberant as he is antisocial. Amid the crowd, his gaze is drawn to that of an enigmatic young brunette, whom he can’t help but follow… In the dead of night, his life is turned upside down. David wakes up… in the body of the stranger.

《男孩 The Boy》的克雷格·麦克尼尔（Craig MacNeill）和克莱·查普曼（Clay Chapman）将与乔纳森·诺兰（Jonathan Nolan）和丽莎·乔伊（Lisa Joy）的制片公司基尔特电影公司（Kilter Films）合作开发一部心理恐怖诗选剧《未知 Unknown》。该剧将描绘美国民间传说与真实犯罪的交集。首季讲述关系疏远的兄妹回到得克萨斯州的“杀场”（这里曾发生过连环杀人弃尸案），却遭遇了一直存在于此处的黑暗灵魂。

秋千秀玉的母亲是“洋公主”。所谓“洋公主”是指战争时期为了摆脱困苦生活和白人结婚的韩国妇女，某种意义上人们是瞧不起这些女人的。秀玉为了过一种和母亲完全不同的生活，在艰苦的环境下努力完成了大学学业，后与家境平凡的德基相恋。不料，德基得知秀玉的身世背景后遗弃了秀玉。失落的秀玉结识了以男妓为业的东硕。一天，东硕受了伤，秀玉悉心照料他。两个人开始相互了解，并因有着相似的痛苦经历更是惺惺相惜。他们决定共同努力，像正常男女那样一起好好生活。然而，好景不长，德基再次找到秀玉，并侮辱了她。秀玉忍无可忍，将德基杀害。最后，秀玉和东硕一起投身蔚蓝色的大海，奔向了他们一直向往的平和世界……

In Theme Song, Acconci uses video as close-up to establish a perversely intimate relation with the viewer, creating a personal space in which to talk directly to (and manipulate) the spectator. He is face to face with the viewer, his head close against the video screen, lying cozily on the floor. Acconci writes, "The scene is a living room — quiet, private night — the scene for a come-on — I can bring my legs around, wrapping myself around the viewer — I'm playing songs on a tape recorder — I follow the songs up, I'm building a relationship, I'm carrying it through." Smoking cigarettes, he begins a seductive monologue as he plays "theme songs" by the Doors, Bob Dylan, Van Morrison, Kris Kristofferson and others on a tape recorder. The songs are a starting point for his come-ons; the tenor of his monologues shifts with the lyrics. "Of course I can't see your face. I have no idea what your face looks like. You could be anybody out there, but there's gotta be somebody watching me.