该片记录了刘小东2014年的印度尼西亚写生项目创作过程，同时也通过影像保存了部分印尼华人的口述历史资料。刘小东以当地经商华人聚会上的几位女性作为创作对象，通过写生期间的交谈勾勒出一方面掌握着印尼经济、一方面又遭受磨难的当地华人群体形象。此行，刘小东还将凝结了印尼华人苦痛记忆的地标——红溪河纳入自己的艺术创作中。

该片记录了刘小东2014年的印度尼西亚写生项目创作过程，同时也通过影像保存了部分印尼华人的口述历史资料。刘小东以当地经商华人聚会上的几位女性作为创作对象，通过写生期间的交谈勾勒出一方面掌握着印尼经济、一方面又遭受磨难的当地华人群体形象。此行，刘小东还将凝结了印尼华人苦痛记忆的地标——红溪河纳入自己的艺术创作中。

CCTV-9纪录频道“魅力系列”纪录片是以“中国视角、世界故事”为创作原则，用中国人的视角讲述全世界不同国家、不同民族、不同文化的故事，并寻找和体现具有普世价值的情感共鸣点。《魅力印度尼西亚》是继《魅力肯尼亚》、《魅力斯洛文尼亚》后的又一佳作。本片向观众展示印度尼西亚独特风景的同时，更多的则是将镜头聚焦在了人的身上，16个普通人的故事展示了印度尼西亚现代社会的发展和进步以及对传统文化习俗的传承。

CCTV-9纪录频道“魅力系列”纪录片是以“中国视角、世界故事”为创作原则，用中国人的视角讲述全世界不同国家、不同民族、不同文化的故事，并寻找和体现具有普世价值的情感共鸣点。《魅力印度尼西亚》是继《魅力肯尼亚》、《魅力斯洛文尼亚》后的又一佳作。本片向观众展示印度尼西亚独特风景的同时，更多的则是将镜头聚焦在了人的身上，16个普通人的故事展示了印度尼西亚现代社会的发展和进步以及对传统文化习俗的传承。

1946 在澳大利亚逗留期间，在悉尼的码头工人协助下，秘密拍摄《印度尼西亚在呼唤》，记述澳大利亚码头工人拒绝为荷兰船只卸装运往印度尼西亚的武器等情况。荷兰当局不仅禁映这部影片，而且借口护照问题，对伊文思采取了进入国境的“惩罚性措施”。 　　Appointed by the Dutch government as a Film Commissioner of the Dutch East Indies, Joris Ivens was supposed make educational and informational films and to film the liberation of Indonesia. However, when he arrived in Sydney and found out that the Dutch government had no intentions to make Indonesia an independent country, but restore the pre-war colonial situation in Indonesia, if necessary with military violence, and this being in contradiction with the information he'd been given and the Atlantic Charter treaty, Joris Ivens resigned his post and made this film. He stated that the Dutch were not working on Indonesia's independence, but on a re-colonization of it. The film is clandestinely shot in the harbours of Sydney, where the port workers unions boycot the Dutch ships filled with military supplies and summon the workers to turn down labour on these ships.

1946 在澳大利亚逗留期间，在悉尼的码头工人协助下，秘密拍摄《印度尼西亚在呼唤》，记述澳大利亚码头工人拒绝为荷兰船只卸装运往印度尼西亚的武器等情况。荷兰当局不仅禁映这部影片，而且借口护照问题，对伊文思采取了进入国境的“惩罚性措施”。 　　Appointed by the Dutch government as a Film Commissioner of the Dutch East Indies, Joris Ivens was supposed make educational and informational films and to film the liberation of Indonesia. However, when he arrived in Sydney and found out that the Dutch government had no intentions to make Indonesia an independent country, but restore the pre-war colonial situation in Indonesia, if necessary with military violence, and this being in contradiction with the information he'd been given and the Atlantic Charter treaty, Joris Ivens resigned his post and made this film. He stated that the Dutch were not working on Indonesia's independence, but on a re-colonization of it. The film is clandestinely shot in the harbours of Sydney, where the port workers unions boycot the Dutch ships filled with military supplies and summon the workers to turn down labour on these ships.

1963年4月12日至5月16日，中华人民共和国主席刘少奇和夫人王光美在印度尼西亚、缅甸、柬埔寨和越南民主共和国四国进行了友好访问。

Sophie Fiennes’ exploration of the creative processes behind artist Liu Xiaodong’s figurative work is the subject of Half Street, her 40-minute study of the Beijing-based painter and a leading figure within China’s contemporary art scene during the 1990s. Liu’s six-week artist residency at two London pubs and a Middle Eastern coffee shop in Marylebone, culminated in eight large-scale acrylic paintings of neighborhood residents of Polish, Tibetan, French, West Indian and Arab descent. The residency marked Liu’s inaugural UK exhibition at London’s Lisson Gallery from 27 September to 2 November 2013. 　　为配合 2013 年中国画家刘小东在里森画廊举办的英国首展，著名电影导演索菲·费因斯 (Sophie Fiennes) 创作了一部 40 分钟的关于这位艺术家的纪录片，探索他直接从生活中进行绘画的流畅方式。她的电影在整个展览期间放映，并跟随刘小东将他的画布带到伦敦街头，进入当地的酒吧和餐馆。