Due to some common interests between German and Russian aristocracy ( the Russians even had aristocrats in their past not to mention they had an Empress called Catherine the Great, as great as this German count's heiresses… ), it is not strange that this Teutonic count has understood and even enjoyed Herr S. M. Eisenstein's "Staroye I Novoye". 　　It is not very usual that for the aristocracy to enjoy Bolshevist films full of proletarian demands that put private property at risk or as it happens in this case, a film about the Communist Party's policy on the subject of the collectivization of the Soviet agriculture. Normally this would be perfect gibberish for this German count, but thanks to Herr Eisenstein 's greatness and directorial talent, the hardships of the heroine of the film, Dame Marfa ( Dame Marfa Lapkina ) breached even the thick aristocratic Schloss walls. 　　And that's one of the first remarkable aspects of this oeuvre; in spite of the political subject of the film, the powerful images and lyricism ( astonishing and beautiful shot compositions ), especially during the first part of the movie, preserve the artistic merits entirely while serving a propaganda purpose. The second remarkable aspect of the film is the dichotomy between the old and new, the fight to improve the lot of Dame Marfa and her countrymen. There are many discussions because it is not easy even in Russia to change ancient and conservative customs. There are superb metaphors and social criticism ( illiteracy, bureaucracy, religiosity ) which perfectly fit the film, and last but not least, "Staroye I Novoye", is a kind of archaic documentary about ancient customs established deeply in old Russia, those ones that our heroine must fight against. And there is also a lot about agriculture ( very enlightening for this German count), especially about harvesting and how to fatten Russian cows or pigs ( literally, no pun here… ). 　　Herr Eisenstein had to bear during the last era of his film career, unbelievable censorship and mutilation of his work, as happens with "Staroye I Novoye". The film was reedited and Eisenstein accused of sympathizing with Trostky's policies but fortunately the film was restored and showed by the German-frenchified t.v. channel "ARTE", natürlich!, including an evocative music score by Herr Taras Bujewski, that fits superbly Herr Eisenstein primal artistic interests. 　　And now, if you'll allow me, I must temporarily take my leave because this German Count must buy a tractor for one of his Teutonic heiress.

Due to some common interests between German and Russian aristocracy ( the Russians even had aristocrats in their past not to mention they had an Empress called Catherine the Great, as great as this German count's heiresses… ), it is not strange that this Teutonic count has understood and even enjoyed Herr S. M. Eisenstein's "Staroye I Novoye". 　　It is not very usual that for the aristocracy to enjoy Bolshevist films full of proletarian demands that put private property at risk or as it happens in this case, a film about the Communist Party's policy on the subject of the collectivization of the Soviet agriculture. Normally this would be perfect gibberish for this German count, but thanks to Herr Eisenstein 's greatness and directorial talent, the hardships of the heroine of the film, Dame Marfa ( Dame Marfa Lapkina ) breached even the thick aristocratic Schloss walls. 　　And that's one of the first remarkable aspects of this oeuvre; in spite of the political subject of the film, the powerful images and lyricism ( astonishing and beautiful shot compositions ), especially during the first part of the movie, preserve the artistic merits entirely while serving a propaganda purpose. The second remarkable aspect of the film is the dichotomy between the old and new, the fight to improve the lot of Dame Marfa and her countrymen. There are many discussions because it is not easy even in Russia to change ancient and conservative customs. There are superb metaphors and social criticism ( illiteracy, bureaucracy, religiosity ) which perfectly fit the film, and last but not least, "Staroye I Novoye", is a kind of archaic documentary about ancient customs established deeply in old Russia, those ones that our heroine must fight against. And there is also a lot about agriculture ( very enlightening for this German count), especially about harvesting and how to fatten Russian cows or pigs ( literally, no pun here… ). 　　Herr Eisenstein had to bear during the last era of his film career, unbelievable censorship and mutilation of his work, as happens with "Staroye I Novoye". The film was reedited and Eisenstein accused of sympathizing with Trostky's policies but fortunately the film was restored and showed by the German-frenchified t.v. channel "ARTE", natürlich!, including an evocative music score by Herr Taras Bujewski, that fits superbly Herr Eisenstein primal artistic interests. 　　And now, if you'll allow me, I must temporarily take my leave because this German Count must buy a tractor for one of his Teutonic heiress.

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.

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.

歌颂「社会主义祖国像百花盛开的大花园」

歌颂「社会主义祖国像百花盛开的大花园」

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。