In this four and a half hour documentary or filmic tavelogue, Ulrike Ottinger tries to impart new ways of seeing a foreign culture. "In my previous films I have dealt with the themes of exoticism, minorities and their differing role behaviour within their own culture. Now I am interested in expanding this theme, in getting to know a 'real exoticism' in a foreign land and in a different culture. I am attempting to conduct a visual discourse with my camera about exoticism as a question of point-of-view. 　　In making the film, I was influenced by Chinese naturepainting: by the use of the scroll, which not only demands a different method of painting, but a different way of viewing - rolling out the scroll, focusing in on details, wandering to and fro, viewing piecemeal. So if I was filming a market square, for example, I'd pan very slowly and steadily across the square, rather than trying to capture the image in toto. 　　– Ulrike Ottinger

以现代喜剧手法讲述三个兄弟的故事。三十多岁的同性恋者安东与男友阿达同居。但长期以来，安东都是睡在地上。兄弟中最年幼的路易打算与高中恋人结婚，但却牵涉在另一段感情当中。而且，他觉得与未婚妻的关系相比，这段关系让他得到更多的满足感。

오랜만에 단편 시나리오 두 편을 의뢰받는다. 　　구성작가에서 시나리오 작가로 자신을 업그레이드하기 위해 머리를 쥐어짜지만 글빨은 무소식이다. 더구나 한꺼번에 두 곳에서 의뢰를 받은거라 어느 한 곳도 제대로 신경을 쓰지 못한다. 서로 내용이 비슷해 조금만 바꾸면 쉬울 줄 알았는데 감독의 취향이 서로 달라 더욱 힘들어진다. 　　 　　일차 마감 시간도 얼마 남지 않아 결국 특단의 조치로 작업실에 쳐박혀 자신을 몰아붙인다. 　　노랑츄리닝을 입어야 글이 잘 나온다는 징크스 때문에 단 벌의 노랑츄리닝을 계속 고수하고 오늘도 글빨 분투를 하는 미영. 　　그녀의 상상인지 현실인지 헛갈리는 생활이 이어진다.

오랜만에 단편 시나리오 두 편을 의뢰받는다. 　　구성작가에서 시나리오 작가로 자신을 업그레이드하기 위해 머리를 쥐어짜지만 글빨은 무소식이다. 더구나 한꺼번에 두 곳에서 의뢰를 받은거라 어느 한 곳도 제대로 신경을 쓰지 못한다. 서로 내용이 비슷해 조금만 바꾸면 쉬울 줄 알았는데 감독의 취향이 서로 달라 더욱 힘들어진다. 　　 　　일차 마감 시간도 얼마 남지 않아 결국 특단의 조치로 작업실에 쳐박혀 자신을 몰아붙인다. 　　노랑츄리닝을 입어야 글이 잘 나온다는 징크스 때문에 단 벌의 노랑츄리닝을 계속 고수하고 오늘도 글빨 분투를 하는 미영. 　　그녀의 상상인지 현실인지 헛갈리는 생활이 이어진다.

玛丽娜（Marina）是一名优等生，她的父亲是一名职业杀手，母亲患有残疾。因为她的父亲在一次任务中丧生，玛丽娜的生活很快陷入混乱，需要她接管家族生意，成为母亲唯一的照顾者。

In colonial Brazil, boy is sent to live with some parents in a sugarcane plantation, after losing his mother. His adaptation will be difficult and painful. A young boy goes to live with his grandfather on a Brazilian plantation after his mother dies. Haunted by the memories of her violent death, the boy slowly adapts to his new surroundings until death, marriage, and the passage of time breaks up the family. Only when the boy is old enough to experience his first love does he leave to attend a city school.

“印象派电影”运动先驱、“纯电影”理论的奠基者谢尔曼·杜拉克执导的电影长片。 　　本片改编自克里斯蒂安·莫尔贝克的戏剧《梦想与现实》，电影讲述了弃儿海伦被剧院提词员莫里斯抚养长大，并成为了一位出色的舞台剧演员，而当她同时受到斯坦福勋爵和年轻已婚剧作家坎贝尔的追求时，却陷入了始料未及的境遇之中。影片中也同时呈现了假面舞会、剧院等默片时代的大型影棚场景。

The scene opens in an artist's studio, the artist asleep in his chair. A large old fashioned clock opens and a young lady comes out and awaking the artist, requests him to paint her picture. While the artist is executing the work a clown comes from the clock, takes in the situation and begins to make love to the lady. The artist detects him and compels him to desist his love making. He continues to paint. The clown becomes interested and asks the artist to allow him to paint the picture, and begins smearing a whitewash brush over the canvas, when lo, a most perfect image of the young lady appears. The image then steps down from the frame, joins the young lady in the studio, and the figures, each a perfect counterpart of the other begin to dance to the great astonishment of the artist. The clown the by waving his hand causes the figures of the two girls to merge into one. The artist then assumes his seat and awakens from his dream with a great shock.