It was a fateful coincidence that in 2014, just when the Allard Pierson Museum in Amsterdam was staging an exhibition of Crimean artworks, Russia annexed the region. So now the question arises of who should the artworks be returned to? To the museums in Crimea who had been so kind as to loan them out? Or to Ukraine, perhaps, the country Crimea belonged to before the annexation? What should the museum’s director Wim Hupperetz do? Veteran documentary filmmaker Oeke Hoogendijk (The New Rijksmuseum) is just the woman for the job when it comes to turning this complex issue into an exciting film, and finding the human dimension in a tangled judicial tug-of-war. Political, emotional, personal, cultural, and historical interests all jostle for position as lawyers arguing from a purely judicial perspective present their case and distressed museum directors face big gaps in their collections. While archaeologists in Crimea continue their groundbreaking historical work, it looks like their previous finds are going to be re-buried in the Netherlands—shut off from the world in a warehouse, they are perhaps the biggest losers in this conflict.

2014年克里米亚危机中一个关于爱、信仰与忠诚的故事

俄罗斯纪录片。1853年至1856年的战争通常被称为克里米亚战争。 但是克里米亚的战斗只是一场更大战争的一部分。 俄罗斯帝国与大英帝国，法国，土耳其和撒丁岛王国的盟军之间的对抗影响了从波罗的海到太平洋的广袤地区。 事实上，这是一场争夺世界霸权的世界大战。 导致十九世纪中叶大国之间对抗的原因是什么？ 俄罗斯帝国最终在世界政治舞台上扮演的角色是如何？这就是“第零次世界大战”所讲述的。

A story of the officers, soldiers and seamen who have not betrayed their oath of loyalty to the people of Ukraine during the takeover of Crimea. This is a film about a military honor, in the midst of undeclared war.

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本片片长145分钟的纪录片,详细地讲述了俄罗斯营救亚努科维奇的行动,又通过对普京以及近50位"克里米亚之春"的见证人的采访,道出了克里米亚人民选择加入俄罗斯的原因。（文/涅瓦字幕组）

奥地利名导尤里西·塞德尔在轰动国际影坛的“天堂三部曲”多年后再出新作，故事讲述一名过气歌手在意大利渡假胜地，靠着为银发旅行团献唱、化身种马服务…

想象一个世界，在这个世界里，残疾是常态，而少数没有残疾的人，那些“正常人”，却遭受着与我们社会中残疾人所经历的相同的居高临下和 patronizing（原文未翻译，可理解为“屈尊俯就、傲慢无礼” ）的态度。

塞巴斯钦原本过着放纵不羁的生活，然而一场意外让他不幸失明，生活瞬间陷入停滞。就在这时，护士米娅走进了他的世界。米娅和塞巴斯钦以往所认识的女人截然不同，她让塞巴斯钦懂得，只要追逐梦想，就能寻得美好的生活。