在柏林一个突如其来的夜晚，Esra被旧日挚友的记忆所追逐。Rari Matei 的短片《Oizys》以声音为引，带领观众走进一个灵魂在迷乱与失落中徘徊的夜晚与清晨。Esra在俱乐部的高节奏中起舞，舞池内外是年轻人关于城市、未来与艺术的随意闲谈。酒精与噪音交织下，他们呕吐、拒绝骚扰，跌跌撞撞走向柏林的街头。次日的葬礼上，Esra被要求发言，却只能以泪水回应。夜深时，记忆再度涌现。影片仅有二十分钟，却以独特的节奏流淌，让观众静静见证Esra在悲伤中穿行的身影。

导演在非洲的某地，给人们呈现，拍摄这个故事，并在此取景，完成了一部前所未有的电影，即一位黑人俄瑞斯忒斯的神话传说。

一个藏地青年决定刺杀世仇后，坠入不可回返的命运悲剧。

关于影片： 俄查位于海南岛的西南部，黎族是这个岛屿的原住民。相传黎族同胞为纪念渡海而来的黎族祖先，故以船型状建造住屋，门开左右形如船的茅草屋，因而得名为“船型屋”。 船型屋是黎族几千年来一直居住的传统方式。 　　　　 俄查属于黎族的美孚方言支系,因而也被称作美孚黎。由于地处偏远,他们依然过着传统黎人的生活。拍摄了一年多，全面记录。 俄查村一百五十多座茅草屋，六百多人。

Winner of Special Prize at legendary Brussels International Experimental Film Festival, 1964. A surreal short tale of a young guy bears a big egg after masturbation... This short holds the only real "narrative" in the collection, as it captures a man engulfed by his perversion and sexual tension. Shortly after searing holes in nude photographs of women with a phallic-shaped rod and -- afterwards -- self-gratifying himself, or so that would seem how Iimura's photography would like for us to perceive it, he discovers an egg "birthed" in between him legs. When confronted with the idea that this may have been his creation, this once-impassioned man now starts to discover maternal tendencies shortly after his orgasm. By far the most compelling work in the collection, Onan tinkers with gradual, real masculine emotionality and eroticism as the focal character playfully and curiously plays with the egg, rendering an odd image of a once perverse man now nurturing the ideals of his passion's product. It can be seen as a metaphor for the cyclical existence of masculine energy, or even as misinterpretation of gender norms once the only other "character" in the film comes out. There's a lot of thought and energy in this seven-minute piece, one that packs more themes than most films ten times its length.

Julia Ormond was swept off to Hollywood to become a star - but somehow it didn't happen. Now she's in London to appear in David Hare's new play. She tells Harriet Lane why she came back Five years ago, the smart Hollywood money was on Julia Ormond becoming the new Julia Roberts or the new Meg Ryan. Instead, she went off at a different angle and became the new Geena Davis. Like Davis, Ormond enjoyed a spectacular launch in Hollywood, buoyed by gallons of publicity rocket fuel: a dazzling ascent swiftly followed by a tumble back to earth at the end of a blackened stick. There is something rather Hilaire Belloc about Julia Ormond's story, something a little cautionary. Or rather, there would be if she would only play along with it, cast herself as The Fallen Star, or The Girl From Surrey Who Thought She Was Audrey Hepburn. But one role she's simply not interested in is that of victim. 'For sure, you don't believe the good stuff,' says Ormond, referring to the hullaballoo that surrounded her in 1995 when Legends of the Fall , First Knight and Sabrina all opened more or less simultaneously. 'I mean, the good stuff is just insane - wacky. If you don't take it too much to heart, it does help when the negative stuff hits. And you know the negative stuff is coming. It's got to! What comes up must come down.' Article continues -------------------------------------------------------------------------------- -------------------------------------------------------------------------------- And it's true: she did know it was coming. At 29, Ormond hadn't submitted rapturously to the star machine. There were sacrifices she didn't want to make. On-set admirers called her 'formidable' and 'flinty' and 'honest'; unnamed sources grumbled about 'attitude'. Looking back at her earliest interviews, conducted amid a swarm of excitable movie execs and publicists, with superagent Michael Ovitz himself on hand to fetch her glasses of water, you note a rich seam of ho-hum scepticism. 'They seem to be very sure things are going to be a success,' Ormond told Vogue in 1995. 'I'm not being negative about it, but I'm hedging my bets.' Certainly, the timing was unfortunate. Legends of the Fall, where she played the love interest, was quickly followed by First Knight, a hilarious turkey in which a trumpet-sleeved Ormond was Guinevere, torn between Sean Connery and Richard Gere. Then came a remake of Sabrina, in which director Sydney Pollack misguidedly steered her into Audrey Hepburn's ballet pumps. Though she knows Sabrina was a mistake, Ormond has no regrets. 'It was a fantastic learning experience and OK, I got slammed because I wasn't Audrey Hepburn... but you could have predicted that, really, if you'd opened your eyes wide enough. But I was hungry for the learning experience and didn't feel secure enough to say no. You need to be bloody secure to say no.' She knew she was lucky, but she also knew she was out of her depth - not with the acting, but with the stuff that surrounded it. 'The odd thing for me is the focus on looks which happened in the States. I'd always felt that was not going to be a strong point. That made me feel very disturbed, because it never seemed to be about how much hard work was involved. Ever. It was about... "hazel eyes". It does help if you can brush that stuff off.' Billed by the publicists as an ingénue, Surrey-born Ormond was no such thing, and this may have saved her bacon. After drama school and an advert for cottage cheese, she had spent a decade as a jobbing actor in the UK, carving out a strong reputation on stage (in 1989, she'd won the London Critics' Award for Best Newcomer, in Christopher Hampton's Faith Hope and Charity at the Lyric Hammersmith) and television (in particular, as a drug addict in Traffik) before landing Legends. 'I found it all very scary. This fairytale gets built around you - as if you've been walking through the streets and then Sydney Pollack sees you and goes, "I'll put you in something!" When really you've gone to drama school and rep and then you've come to London and gone to auditions... and you've worked, solidly, for years. But that all gets forgotten. At first I was a bit indignant about it, and then I realised, "No, that's what people want, so that's what is given." But it's not in your control. It's just what happens to you, and that's what's frightening.' The roles, on the other hand, were a gas. In the UK, 'I'd seemed to play a lot of people who'd slit their wrists or cut off their hair or shot themselves or died of the plague. And if you do anything for too long, it starts to lack edge, to become too easy. Easy is the kiss of death. And so for me what I needed was to get my head out of my bottom, and so to go off and do First Knight - gallivanting around on a horse, with a cape, and knights in blue corduroy - was quite fun.' So Ormond gallivanted for a bit, airing her famous, transfixing smile as required ('You watch her just to wait for it to happen,' wrote one journalist), and then... vanished, at least from the mainstream. Stepping off the red carpet, she took bigger risks. A doomed film version of Miss Smilla's Feeling for Snow , directed by Bille August. A three-hour Russian epic, The Barber of Siberia, directed by Nikita Mikhalkov. When she was white-hot she'd been offered the Holy Grail of movie-star accessories, her own production company, and Ormond actually did something with hers, making a documentary about Bosnian women in Serbian detention camps, and working with Harold Pinter on a Karen Blixen short story that she hopes to direct. Last year she married an American who works in e-commerce. For her next trick, she's coming back to the London stage for the first time in nine years. At the Royal Court, in a break from rehearsing David Hare's new play My Zinc Bed , Ormond looks very London, very theatre. She's wearing a black jersey, chinos and navy flipflops, and her hair is rather tangled, as if it hasn't been brushed for days. No make-up. Her face has more character, more shade, than I was expecting. You do find yourself staring at her, just so you won't miss the wild energy that surges across it when she laughs. Ormond hasn't turned her back on film (the marital home is in LA, and The Prime Gig, a comedy co-starring Vince Vaughn and Ed Harris, is in post-production) but the Hare project was too good to miss. What swung it for her? 'The fact that David had written it and David was directing it at the Royal Court and it was a new three-hander. Plus, it's a brilliant play. I'm not making any comment on how we execute it or what we achieve through doing it, but reading it, it's a phenomenal play.' Since there's some sort of unofficial embargo about My Zinc Bed, neither Ormond nor her co-stars Tom Wilkinson and Steven Mackintosh will spell out what actually happens in the play, other than saying that it's about an entrepreneur who recruits a young poet to jazz up his internet empire. Ormond, who plays Elsa, the entrepreneur's wife, says the Hare script outshone every film script that was coming her way. In any case, she'd been keen to get back to theatre. 'I ride,' says Ormond, who has a way with analogies, 'and doing theatre after doing film is a bit like doing dressage or showjumping after you've been out for endless hacks, having just a wild old time. You're put through your paces in a different way. And it's not that going out for a hack is wrong or bad, I certainly don't view it as that; it's just that there's something about the dressage, being put through your paces, that makes you better.' Yes, she feels the stakes are high this time around. 'I feel that David took a risk with me. I have a sense that by starting off in the theatre and going off to do films you are seen to sell out in some way. I don't hold truck with that, but you can't stop people from feeling it. So I think people are a little guarded about me. Oh, God! It's never just about the piece. Something else always washes over it.' She's anxious that her own trajectory, her own reputation, should not obscure Hare's work. When she adds, 'But then, my sense is that that' s all something in the past - I've escaped it', she sounds like she really means it. •

《俄宫谍影》讲述了法国外交官间谍迪昂的故事。他被派往俄国后，活跃于俄、法、德三国之间，在俄国著名的七年战争期间多次成为幕后关键人物。迪昂巧妙冒用已故间谍“波蒙夫人”的身份，赢得了俄国女皇的信任，此后以女性身份生活了34年。他在官服与蕾丝裙之间自如切换，用笔墨或刀剑掩饰自己的真实身份。影片还揭示了俄国七年战争中尔虞我诈的幕后真相。

1812年6月24日夜间，不可一世的法皇拿破仑·波拿巴，突然向俄国发起大规模进攻。法军迅速向俄国腹地进军，很快占领了维尔诺、明斯克、波洛茨克等地。俄军在庸碌无能、刚愎自负、缺乏指挥才能的俄皇亚历山大一世的率领下节节败退。面对这样的境况，俄国国内各方势力纷纷要求尽快任命具有全权的新任统帅。这一年的8月，亚历山大一世迫不得已再次起用库图佐夫为俄军总司令。 库图佐夫上任之后，很快就为俄军带来了全新的面貌和战术。当拿破仑占领莫斯科时，库图佐夫已命令俄军完成了反击拿破仑的战略部署。当拿破仑从莫斯科向南撤退时，库图佐夫已在马洛雅罗斯拉维茨部署就绪，只待法军到来。10月下旬，拿破仑军队在马洛雅罗斯拉维茨同俄军遭遇，双方展开一场艰苦的恶战。在历经了八次易手之后，俄军终于把法军彻底击败。 远征俄国惨遭失败，这一进程极大地改变了拿破仑的命运。这位曾被法国人视为英雄的科西嘉人，从此开始走向衰落。他一手缔造的法兰西帝国也从此一蹶不振，并逐渐走向衰亡。

美国总统乔·拜登一心想弄明白为何他实施的制裁对俄罗斯人毫无效果。于是，他乔装打扮后飞往俄罗斯，打算深入了解俄罗斯人的真实想法。抵达后的第一天，他就不慎弄丢了证件，不过幸运地结识了一位真正的俄罗斯爱国者朋友。无奈之下，拜登只能暂住在普通的赫鲁晓夫楼里。为了攒钱办理新证件以便返回美国，他只好去做英语老师。与此同时，美国中情局误将与拜登长相极为相似的俄罗斯退休老人伊万诺维奇带回了美国。

《俄仔愛回家》原名《俄仔愛回家》，是香港電視娛樂為2018年FIFA世界盃打造的旅遊節目。該節目由Artem Ansheles主持，嘉賓有Ansheles的媽媽、Yoyo（胡希文）、Ceci和阿Mo。節目於2018年6月25日至7月13日，逢星期一至五的22:30 - 23:00在ViuTV播出。在節目中，「俄仔」Artem Ansheles回到「故鄉」俄羅斯探望媽媽，還帶著三位女嘉賓一同介紹當地的特色景點。 其前奏節目《遊俄話你知》（Russian Guide Guy）同樣由Artem Ansheles主持，每集節目長約2分鐘，於2018年5月28日至6月8日，逢星期一至五的23:27 - 23:30在ViuTV播出，主要介紹有關俄羅斯的旅遊資訊。