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.

"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。

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。

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。

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与许多南非二战老兵的后代一样，乌玛·海蒂一直在徒劳地等待着国家对她父亲忠诚服役所应给予的补偿。从老兵家属的绝望中，滋生了一种新的骗局，以他们对于久被承诺的赔偿所怀有的希望为食。海蒂也深陷其中。她在卡米斯山影下度过的八十余年岁月，牧羊为生，与土地同频，教会了她许多关于坚韧的道理。