乐卡•康斯坦丁南维克担任南斯拉夫总统约瑟普•布罗兹•铁托的私人电影放映员长达32年之久。期间，他向铁托放映了共8801部影片。他和南斯拉夫的导演、电影明星和工作室老板们一起讲述铁托（1892-1980）是如何构建战后的南斯拉夫、同时也利用电影业来建设这个新国家的故事。理查德•伯顿、索菲亚•罗兰和奥森•韦尔斯等明星的诞生，给这种努力增添了一丝光彩。他们出现在许多由南斯拉夫资助的电影巨作中，《电影主义》通过采用许多已被遗忘的南斯拉夫电影片段讲述了南斯拉夫的故事—--这种讲述方式从未呈现于屏幕。通过拼凑在一起的独家幕后档案，本片再现了一个国家的故事，也许这个国家本身就是一部小说。

BBC Four拍摄的纪录片，谈苏维埃政权如何介入国家运动，东欧的足球场如何成为共产主义政客利用的战场，俄罗斯、匈牙利与前东德共产主义领袖的操控，以及在铁幕背后不愿合作者的一些案例。 　　After the Russian Revolution, the Soviet authorities sought to exercise control over every aspect of social, political and cultural life, including Russia's national sport, football. Throughout the 20th Century, the football grounds of Eastern Europe became battlegrounds as ruthless politicians tried to use football to lend legitimacy to communist rule. In this film, footballers from Russia, Hungary and East Germany recall how the beautiful game was manipulated by ruthless communist leaders, and reveal how the careers of several great footballers from behind the Iron Curtain were destroyed simply because they refused to co-operate with the Eastern Bloc's most brutal totalitarian regimes. The central tale is of the George Best of Russian football, a seventeen-year-old slinky, skilled forward with a teddy boy haircut, Eduard Streltstov, who was the inventor of a back-heeled pass, still known as "The Russian Pelé", whose career was wrecked by the KGB.

81-year-old master, Jean-Marie Straub, once again invents and surprises with his latest film. Kommunisten consists of six parts, five of which have been taken from his earlier works. Straub does not aim to be self-reverential, but instead wants to make different blocks (of text, time, and languages) clash so as to highlight invisible elements of feelings and politics. It is a film about human adventure, from the past century to the one ahead. In this project, all the things that the films of Jean-Marie Straub and Danièle Huillet have been based on for the past fifty years, find their most raw and recent form.

81-year-old master, Jean-Marie Straub, once again invents and surprises with his latest film. Kommunisten consists of six parts, five of which have been taken from his earlier works. Straub does not aim to be self-reverential, but instead wants to make different blocks (of text, time, and languages) clash so as to highlight invisible elements of feelings and politics. It is a film about human adventure, from the past century to the one ahead. In this project, all the things that the films of Jean-Marie Straub and Danièle Huillet have been based on for the past fifty years, find their most raw and recent form.

由法国历史学者Patrick Rotman和Patrick Barbéris统筹拍摄的电视纪录片，由帕特里斯·夏侯（Patrice Chereau，《亲密》《爱我就搭火车》导演）旁白。讲述共产主义由诞生到发展到在欧亚大地蓬勃伸展的100年历史，时间跨越1917-1993近一世纪，分4大部分。

In communist Romania, thousands of Western films on bootleg VHS tapes — mostly Hollywood action movies — were smuggled behind the Iron Curtain, opening a window into the free world. 　　Under President Nicolae Ceaușescu, Romania was culturally isolated and ideologically censored. Images of life outside its borders were cut off and TV was reduced to propaganda bulletins. From the drab concrete housing blocks to the food ration lines, the threat of surveillance prevented people from stepping out of line. 　　But in the mid-1980s, under the nose of the Securitate, Ceaușescu’s secret police, thousands of Hollywood films were smuggled into the country by an underground operative named Zamfir, and they were all covertly dubbed by Irina Nistor, a courageous translator whose distinct voice captivated the nation and became a symbol of freedom. 　　As we see through evocative re-creations in Chuck Norris vs Communism, a network of secret screening rooms sprung up across Romania as families, friends, and neighbors gathered to watch action heroes like Norris, Van Damme, and Stallone, along with romantic comedies, dramas, and Hollywood epics. While the stories captured the imagination, it was the lavish settings and backdrops that mesmerized the audience. The films offered Romanians glimpses of the abundant West, which prompted the regime to clamp down on the clandestine screenings, casting an atmosphere of ever-present danger and suspicion.

生于大财团的孪生姐妹花和辻摩子（武井咲 饰）和仓沢五月（武井咲 饰）自襁褓便被分离，从此走上了不同的人生轨迹。留在大财团的摩子长成为白天鹅般高雅却没有自我的千金大小姐，流离在外的五月则早早学会了为谋生不择手段。 　　在宿命的轮转下，想要摆脱束缚的摩子找到了被卷入杀人案的五月，不知情而又相互羡慕的两人约定互换人生。摩子扮演起了身负命案却活得随性的五月，不仅要在荆棘丛生的道路中求生，还要设法消除警部刑事弓坂圭一郎（桐谷健太 饰）敏锐的质疑；与此同时，代替摩子回到尔虞我诈大家族中的五月正如鱼得水，外祖父却突遭暴毙，五月也因此与奉命调查此案的弓坂再次相遇。三人的命运因围绕在姐妹花身边诸多的案件缠绕在了一起，等待在这些案件前方的真相会是什么？ 　　本剧以日本推理女作家夏树静子同名畅销代表作为蓝本创作，武井咲在剧中一人分饰两角。

三田静香是“海”剧团实习演员。剧团决定公演推理作品《W 的悲剧》，并通过考试选拔女主角摩子。菊地香被选中，而静香被安排饰剧团女佣人兼幕后提词。她在男朋友昭夫鼓励下背熟了全剧的台词。一天夜晚，女明星羽鸟翔的资助人堂原良造暴死她的房中。为了避免因这桩丑闻断送白己的名声，羽鸟翔以让她饰演女主角摩子为条件，恳求静香当她的替身，此后，静香在舞台上成功地扮演了一个杀人犯的替身，她把现实经历和角色性格融为一体．演得真挚感人，获得观众赞许。散场后，菊地香持刀扑向静香．昭夫因保护静香而受伤。昭夫向静香求爱，静香向昭夫表示了自己要从头做起，继续演戏的心清，含着微笑向他告别。

本片根据夏树静子的代表作《W的悲剧》改编。 　　一条春生（菅野美穗 饰）收到和辻摩子（谷村美月饰）的邀请去北海道别墅做客。和辻家经营着日本著名的和辻制药，家庭成员繁多。社长与兵卫（津川雅彦饰）、社长妻子实子（池内淳子 饰）、社长弟弟繁（江守彻 饰）、社长侄子卓夫（成宫宽贵 饰）、摩子继父道彦（中村桥之助 饰）、摩子母亲淑枝，家庭医生钟平（香川照之 饰）。晚餐后，社长回房休息，摩子被叫进去谈话。不久，双手鲜红的摩子出现在大家面前，说自己亲手杀了社长。为维护家族名誉、保护摩子，众人合力将凶手现场伪造成入室抢劫杀人报案，并为摩子制造不在场证明。折腾了一晚上的大家终于在第二天迎来了刑警中里（小日向文世 饰）。中里在调查中不断发现破绽而将摩子逮捕，但又感到似有蹊跷。那么，真正的凶手到底是谁呢？而凶手的杀人动机又是什么呢？

安藤卫（稻垣吾郎 饰）在幼年时经历了一次家中进盗贼的可怕场景，而这个经历至今仍然深深地影响着他。他对那次事件的记忆历历在目，每每回想起来都无法摆脱其中的恐惧。这导致他变得非常谨小慎微，对任何事情都极度小心谨慎，将回避危险成为自己幸福的秘诀。 　　大学毕业后，卫毫不犹豫地加入了JTS安全保卫公司。他以他不寻常的回避危机的能力和过分认真的工作态度迅速获得了全公司的认可。甚至公司董事长岛谷隆太郎（伊武雅刀 饰）还将自己的爱女岛谷有纪（冈本绫 饰）介绍给了卫。卫似乎正走上一条光明的事业道路，预计将成为董事长的人选，他的工作也进行得非常顺利。然而，故事的转机出现了，相原美沙的出现彻底改变了卫的人生方向，并将他引向了一个灾难的深渊。这段情感关系可能会导致卫陷入许多困惑与冲突中，他可能需要重新评估自己的生活和目标。