In 1968, we had the opportunity to spend time with Thelonious Monk and his musicians, following him in New York, Atlanta, and in various European cities. In New York his quartet plays at the Village Vanguard and at recording sessions for Columbia Records; in Atlanta they appear at a Jazz Festival organized by George Wein. The members of the quartet were Charlie Rouse, Larry Gales, and Ben Riley. The group was joined on the European tour by Ray Copeland, Clark Terry, Phil Woods, and Johnny Griffin, traveling as part of George Wein's Newport Jazz Festival road company.—Michael Blackwood Productions

An insightful documentary into the prosperity Islam engendered in Europe during its glorious reign there. 　　Join British historian Bettany Hughes as she examines a long-buried chapter of European history--the rise and fall of Islamic culture i n what is now Spain and Portugal. 　　Although generations of Spanish rulers have tried to expunge this era from the historical record, recent archeology and scholarship now shed fresh light on the Moors who flourished in Al-Andalus for more than 700 years. 　　This fascinating documentary explodes old stereotypes and offers shocking new insights. You’ll discover the ingenious mathematics behind Granada’s dazzling Alhambra Palace, trace El Cid’s lineage to his Moorish roots, and learn how the Iberian population willingly converted to Islam in droves. 　　Through interviews with noted scholars, you’ll see how Moorish advances in mathematics, astronomy, art, and agriculture helped propel the West out of the Dark Ages and into the Renaissance. What emerges is a richly detailed portrait of a sensuous, inquisitive, and remarkably progressive Islamic culture in Christian Europe. 　　在公元711年，新转换来自北非的穆斯林部落越过直布罗陀海峡，入侵西班牙。被称为摩尔人，他们建立了一个丰富而强大的社会。它的资本，科尔多瓦，是欧洲最大和最文明的城市，医院，图书馆等公共基础设施提前光年的事情在英格兰的时候。当中的很多事情，被介绍到欧洲穆斯林在这个时候，一个巨大的身体已经失去了欧洲其他国家几个世纪的古典希腊文，数学和我们今天所使用的数字;先进的天文学和医学实践;精细就餐;概念的浪漫爱情;纸除臭;甚至勃起霜。这是不是刚性的，伊斯兰原教旨主义的一些人的想象力，而是一个渐进的，感性的和文化求知欲。但是，当社会崩溃，西班牙狂热重新基督教化，几乎每7世纪的伊斯兰统治的痕迹被无情地拆除。只是到了现在，六个世纪后，欧洲的生活和文化，摩尔人的影响终于开始得到充分的理解

An insightful documentary into the prosperity Islam engendered in Europe during its glorious reign there. 　　Join British historian Bettany Hughes as she examines a long-buried chapter of European history--the rise and fall of Islamic culture i n what is now Spain and Portugal. 　　Although generations of Spanish rulers have tried to expunge this era from the historical record, recent archeology and scholarship now shed fresh light on the Moors who flourished in Al-Andalus for more than 700 years. 　　This fascinating documentary explodes old stereotypes and offers shocking new insights. You’ll discover the ingenious mathematics behind Granada’s dazzling Alhambra Palace, trace El Cid’s lineage to his Moorish roots, and learn how the Iberian population willingly converted to Islam in droves. 　　Through interviews with noted scholars, you’ll see how Moorish advances in mathematics, astronomy, art, and agriculture helped propel the West out of the Dark Ages and into the Renaissance. What emerges is a richly detailed portrait of a sensuous, inquisitive, and remarkably progressive Islamic culture in Christian Europe. 　　在公元711年，新转换来自北非的穆斯林部落越过直布罗陀海峡，入侵西班牙。被称为摩尔人，他们建立了一个丰富而强大的社会。它的资本，科尔多瓦，是欧洲最大和最文明的城市，医院，图书馆等公共基础设施提前光年的事情在英格兰的时候。当中的很多事情，被介绍到欧洲穆斯林在这个时候，一个巨大的身体已经失去了欧洲其他国家几个世纪的古典希腊文，数学和我们今天所使用的数字;先进的天文学和医学实践;精细就餐;概念的浪漫爱情;纸除臭;甚至勃起霜。这是不是刚性的，伊斯兰原教旨主义的一些人的想象力，而是一个渐进的，感性的和文化求知欲。但是，当社会崩溃，西班牙狂热重新基督教化，几乎每7世纪的伊斯兰统治的痕迹被无情地拆除。只是到了现在，六个世纪后，欧洲的生活和文化，摩尔人的影响终于开始得到充分的理解

Tove and Tooti in Europe is a documentary charting the voyages through Europe of author Tove Jansson and graphic artist Tuulikki Pietilä. 　　It is a lyrical and sometimes hilarious film essay on the "old Europe”, experienced by travellers and observers, of times when people used to wander, share a joke, pause and, sometimes, even stop. 　　The film takes us to Paris, Venice, London, Madrid and Dublin; Iceland, Ireland and Corsica.

Tove and Tooti in Europe is a documentary charting the voyages through Europe of author Tove Jansson and graphic artist Tuulikki Pietilä. 　　It is a lyrical and sometimes hilarious film essay on the "old Europe”, experienced by travellers and observers, of times when people used to wander, share a joke, pause and, sometimes, even stop. 　　The film takes us to Paris, Venice, London, Madrid and Dublin; Iceland, Ireland and Corsica.

Berlin, a summer in the age of neoliberalism: the spectre of the soviet avant-garde is haunting the city. A young Georgian contract-worker is surprised to find the ghost of the Russian revolutionary poet Vladimir Mayakovsky in his kitchen. At the same time, his friend Kasimir inherits a big fortune, but what shall he do with all this money? Framed by a travel through time leading to Flaubert's 19th Century und the shooting of a revisionist melodrama for German television, the film follows the adventures of these three characters in contemporary Berlin. A suprematist digital comedy about the transmission of emancipatory energies.

Berlin, a summer in the age of neoliberalism: the spectre of the soviet avant-garde is haunting the city. A young Georgian contract-worker is surprised to find the ghost of the Russian revolutionary poet Vladimir Mayakovsky in his kitchen. At the same time, his friend Kasimir inherits a big fortune, but what shall he do with all this money? Framed by a travel through time leading to Flaubert's 19th Century und the shooting of a revisionist melodrama for German television, the film follows the adventures of these three characters in contemporary Berlin. A suprematist digital comedy about the transmission of emancipatory energies.

This glasnost-era documentary, which incorporates footage from films from the 1920s through the 1980s, looks at the history of women in Russian cinema through the eyes of Russian women directors, actors, and scriptwriters. The film’s title refers to a WWII slogan about women doing the work of absent men in the fields and at home.

This glasnost-era documentary, which incorporates footage from films from the 1920s through the 1980s, looks at the history of women in Russian cinema through the eyes of Russian women directors, actors, and scriptwriters. The film’s title refers to a WWII slogan about women doing the work of absent men in the fields and at home.

影片讲述了被遗弃的小男孩孔德尔（彼得·贾戈尔斯基 Piotr Jagielski 饰）不断寻求自身归属感，找寻精神家园的命运故事。从小被母亲遗弃的孔德尔，在孤儿院的生活充满压抑和克制。母亲一心寻找所谓的真爱，嫌弃孔德尔是自己的累赘，非但不收留儿子，反而置自己的亲生骨肉于不顾。面对母亲的抛弃，小孔德尔失声痛哭。终于，才十一岁大的孔德尔毅然逃离孤儿院，去追寻属于自己的家园。孔德尔开始了他的流浪生活，寄住在一艘废弃的破船上，于此有了一个“家”。弃船对面住着一户富裕人家，小女孩跟他年纪相仿，受过良好的教育生活条件优越。然而因为长相难看，总是受到排挤和冷落，直到遇见一样孤独的孔德尔，幼小的心灵自此有了彼此的慰藉。 　　本片荣获2006年柏林电影节特别致意最佳影片奖。