1996, full version – 26 min. (short – 12 min.), colour, BETACAM SP Hermitage Bridge Studio scenario: A. Sokurov camera: A. Fedorov sound: V. Persov editor: L. Semenova producer: A. Deryabin “…the ruins of villas or palaces, castles, bridges, ancient vaults appear one by one before my eyes, like dreams; ghostly landscapes with grey trees… I enter the Hermitage's halls, and nothing prevents me from approaching any picture, and the very vaults of this famous palace help me to see the canvasses better — small and big ones, almost gigantic ones, painted by this happy master.” Alexander Sokurov (from the film script) This is the first film of, and as of yet the only film in, a series planned by Hermitage Bridge Studios dedicated to the most important masters of European painting, whose works are included in the collection of the Hermitage Museum, the most famous of Russian museums. It in envisaged that the films will be made by the most prestigious of St. Petersburg's film directors. Only Sokurov has already made his film. From the enormous list of celebrated names, Sokurov has chosen one — and a very modest one indeed: Hubert Robert, a French painter who worked between the end of the eighteenth century and the beginning of the nineteenth. He painted ruins in landscapes. The formal pretext — the museum's request, intended to popularise its treasures — coincided with the film–maker's deepest need: to create a “cultural context” for his own lyrical confession. Hence, Sokurov makes the film both about the canvasses and about the fate of an artist possessed by the idea of the search for harmony. In this respect, Hubert Robert was a man of his time, a time which found its classical ideals in the ways of life of an ancient city, an ancient personality and an ancient ruler. But the contented life of the artist, like his Age, finished with the collapse of the Napoleonic empire — it ended in disaster for his family and for himself. But he lives on in the majestic ruins in the nostalgic landscapes. These were particularly popular in nineteenth century Russia. Their vogue reflects the astonishment and delight of Russians in the face of a Western civilisation that had already followed the path from formation and development to death and destruction. Russia herself was in that very period of formation in the nineteenth century — the apocalyptic impulses were already present in the culture and social life of the Golden Age of Russia. For this reason, Sokurov places Dostoevsky and Gogol's reminiscences in his narrative, as well as images of traditional Japanese theatre — a firm bulwark to this harmonic cultural tradition, since lost by Europe.

一位女教师因母亲去世而悲痛不已，课后她将一名心不在焉的学生单独留下，但事情却由此急转直下，让她的教学能力受到质疑。

A family is terrorized by an evil doll named Robert, which seems to come to life after an elderly housekeeper is dismissed. As the attacks grow more intense, the parents struggle with their disbelief and fear while trying to break the curse before it's too late.

拉哈瓦和他的儿子阿琼住在勒克瑙，是婆罗门一家餐饮单位的厨师长。他过着平静的生活，希望儿子得到最好的。一切似乎都很顺利，直到一些骷髅从他的衣柜里滚了出来，他被迫接受他原来的化身。

After Paul and Jenny part company with their sinister housekeeper Agatha, the disgruntled former employee gives a vintage doll called Robert to their son Gene. Soon after Agatha's departure, strange events begin plaguing the household. Furniture is vandalized, objects are thrown around and maniacal giggles echo through the house in the middle of the night. But nobody believes Gene when he claims Robert is to blame for the disturbances. Paul and Jenny consider the possibility that a supernatural force has taken over their home. But as the occurrences escalate they discover that it's not the house that's haunted... it's the doll.

一個英國海濱小鎮，三位放浪形骸的少年。他們無法接受這個村鎮裡各種自以為是的道德標準，於是，他們決定將不滿化為行動，以身衝撞道德界線！本片在戛纳放映時，觸怒許多觀眾與影評人離座抗議。更有一位影評人形容，這部片的犯罪場景讓《發條橘子》看起來就像小甜甜音樂錄影帶般的可口，是2005戛纳影展在性與暴力尺度上最具爭議的一部影片。

Recorded live at the Royal Opera House, December 2012. Daniel Oren conducting Royal Opera House Orchestra and Chorus. A grand opera that dominated the stages of Europe for most of the 19th century, Robert le diable is a masterpiece. Director Laurent Pelly breathes new life into Giacomo Meyerbeer's great spectacle and audaciously entertaining moral fable, in this colourful new staging for The Royal Opera.

1951年的苏联，臭名昭著的杀手玩偶罗伯特在飞机上与斯大林的亲信展开激战。

中年白领罗伯特（卡洛斯·卡尔沃 饰）与妻子玛尔塔吵架分居后，意外之下与出柜作家马塞洛（维克多·拉普拉斯 饰）成为了同居室友。无话不谈的他们在一个宿醉的午夜发生了性关系，令他愉悦而痛苦的是——显然他早已与马塞洛坠入爱河。从那时起，罗伯特不得不直面自己那诡秘复杂的“内心感受”…… 于 1985年上映的喜剧电影《再见，罗伯特》是阿根廷第一部公开讲述两个男人间浪漫故事的院线作品，这部以浪漫的神经质为主基调的商业电影以一副诙谐而不失深度的姿态大胆探索了性少数群体之间这种至关重要而又不为世俗社会所接纳的禁忌情感关系。

Made over 5 years, a vibrant portrait of the close relationship between a mother and son as he finds his way as an artist and a trans woman.