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。

这位总是不穿衬衫的单口喜剧演员在这部六集的节目中饰演了一个版本的自己。在剧中，伯特的女儿们进入了贝弗利山庄的一所精英私立学校后，他陷入了困境，他“肆无忌惮的滑稽行为让他的家人成了被排斥的对象”。为了融入其中，伯特决定最终穿上衬衫（我们推测这既有字面意思，也有隐喻意义）并克制……

节目是一档以“现实大世界冒险”为主线、四川风土人情作为节目背景的旅行冒险节目，嘉宾将通过亲身体验，​将当地特色民俗、非遗文化与内容进行融合，以年轻化的内容形态助力文旅传播。

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.

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.

Marple finds herself on a bit of a holiday and staying at the very posh Bertram's Hotel, where she stayed as a child and for which she has very fond memories. Things take a sinister turn when a hotel maid, Tilly Rice, is found strangled on the roof. Miss Marple can't help but investigate but is assisted by Jane Cooper, also a hotel maid, who is in fact a younger version of Miss Marple. When an attempt is made on the life of a hotel guest, Elvira Blake the two Janes work together to find the motive and the identity of the killer.

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。