以真实地艺术性手段描写了在都市大公司任职的一对公关小姐的奇特命运。反映当代女性的天机，与此同时也展示了部分白天是人晚上是鬼的伪君子。全剧风格似悲似喜，似真似假

《公关小姐》创下了几个第一。大陆最早的反映改革开放、最早反映公关行业的电视连续剧，最早反映女性和女性群体生活的电视连续剧。获第九届全国“大众电视金鹰奖”优秀长篇连续剧奖等众多奖项。 《公关小姐》是一部反映改革开放成就的主旋律电视剧，广州本土电视剧在与香港电视剧竞争和与中央电视台播放的上千集电视剧竞争的过程中，《公关小姐》选取了严肃与通俗之间的“第三条道路”。 广州人看香港电视，经历了一个起起浮浮的过程。而粤港电视人的竞争，也在这样的过程中显示出刀光剑影。《公关小姐》选取了一个相当精巧的角度，就是把主角设计成一个来自香港的公关人士，这样一部吸取了香港电视连续剧优点的都市言情剧就有了一个宏大的背景，一国两制的政策已经提出，香港回归的脚步正逐渐接近，人们对香港文化的了解正在一步步加强，这样的角度让《公关小姐》在与港产剧的竞争上占据了天然的优势。 而同时，电视剧中的“广味”又使《公关小姐》的影响远不止在影视领域，《公关小姐》带旺了一个刚刚兴起的行业，同时又把广州的形象以及岭南的文化推向了全国。

A group of friends uncover an otherworldly object in a rural field, which they soon discover holds greater secrets than they could imagine.

A father wants to help his son apply to the Department of Theater and Cinema Studies, and asks his friend Jun-ho to direct a movie which will become part of his son's college application/portfolio. As a result, Jun-ho gathers the producer's son, actress, cinematographer and sound recordist and heads to his hometown which he hasn't seen in 30 years. By shooting the film without a script, Jun-ho quickly loses control over it and the crew and actors become suspicious of him. To make matters worse, he keeps seeing repeatedly a strange girl.

汉娜本想帮助一个陌生人，没想到换来的不是对方的感激，而是愤怒。这次不愉快的经历，对她的影响可不只停留在梦境里。

我Thomas（Ioan Gruffudd饰，年青时期由Billy Gunnion饰演）爱上了一个玫瑰般的女孩。在我们这所蔚蓝海岸的高中里，她，Vinca（Ivanna Sakhno饰），是最受欢迎的女生。二十五年前的一个暴风雪之夜，她消失了。有人看到她和她的秘密情人出现在巴黎的酒店，那是她最后的踪迹。 在同一个夜晚，我和好友Maxime（Grégory Fitoussi饰，年青时期由Loyan Pons de Vier饰演）失手犯下一桩杀人案，并将受害人的尸体藏在学校体育馆的墙壁内。二十五年后，背负秘密的我成了一名畅销书作家，Maxime则正在竞选议员。这时传来消息，我们的母校突然决定翻修，旧的体育馆要被拆除，秘密即将败露，我回到镇上，决定接受命运的审判。 紧接着，我和Maxime陆续收到匿名恐吓信，学校里我弃用多年的储物柜里发现巨款，我的家人也遭遇意外，我们发现事情绝不是看上去那么简单。当年知晓个中秘密的人几乎都已不在人世，是谁在背后操控这一切？那个黑夜究竟掩埋了怎样的真相？而我们的人生是否行将分崩离析？

Nesmluvená setkání is the story of a group of astronauts and their Cyborg worker who are assigned to jump from planet to planet in search of suitable living conditions for future inhabitants. Their mission is side tracked one day when they receive a communiqué from Earth requesting that they search and recover a team that went missing 6 years earlier on that same planet. That space craft had crash landed not too far from their current location with a small crew, including a 5-year-old boy: the pilot's son. They soon find their missing colleagues, dead in the rubble and report back to Earth that all information gathered by the previous crew was lost in the crash. They are given the assignment to carry on with that crew's work before heading to the next planet. One night, over dinner, a strange person wonders on to the space craft's flight deck. An 11-year-old boy (Petr Ricanek), with nothing but magical branches he uses as weapons, and a dirty, shaggy look comparable to a caveman. Through a series of flashback sequences we see that this boy is the dead pilot's son, and survived the crash with only a few cuts. A storm is brewing outside the ship, and nasty space storm at that! Worried for the boy's safety, the crew's captain (Jan Jacer) heads out to find him

柏林影展最佳电影处女作奖

Wickedly funny and observant slice of life NYC gangster pic, that's decidedly Jewish, quirky and anarchistic. The surprise cult comedy/drama hit was shot in 1969 and put on the shelf when no distributor was willing to take a chance on it when test audiences didn't laugh, but it was released in 1989 to play in the NYC Film Festival. Rave reviews gave this pic a new lease on life, and it got its long awaited theatrical release--only twenty years too late to help the splendid aging unknown cast advance their careers. In this low-budget black and white shot indie, writer-director Michael Roemer ("Nothing But A Man") makes good use of location shots in the Big Apple, exhibits a winsome dead-on droll humor and gets a super performance from Max Priest--the washed-up small-time mob leader with a deadpan expression (perhaps equaling Buster Keaton's) that seemingly can absorb all kinds of bad news without letting on he's in pain. It's like a time capsule pic, as it takes us back to the 1960s when mafioso types were riding around the city in big gas-guzzling Cadillacs, stylish dames were sporting bee-hive hairstyles, Go-Go dancers were in vogue and there was liberal John Lindsay's racially changing NYC that altered forever the way urban America was to be from now on. It's a scream as a cutting satire on middle-class Jewish aspirations, their showy bar mitzvah rituals and of the almost tragic downfall of a two-bit gangster who didn't have the heart for the rough business, just the will to lead a soft life. The cinéma-vérité pic looks authentic even if it's covering familiar territory, and has the balls to make such an unsympathetic low-life criminal as Harry as an almost sympathetic heroic one by the end of the day.