19世纪中叶，达尔文发现了生物的“生命线”，创立了生物合成技术，世界的格局由此悄悄改变。德奥同盟国组成机械主义阵营，投身钢铁机甲；英法俄协约国组成达尔文主义阵营，醉心合成巨兽。1914年，世界大战爆发在即，奥匈帝国的亚历山大王子在大公遇刺后逃离祖国，身边只有几位忠臣和一台机甲为伴 。与此同时，苏格兰平民女孩德琳·夏普女扮男装加入英国空军，时时刻刻都得隐藏身份。两人以意想不到的方式登上利维坦号，少年与少女即将左右世界大战的走向…… 　　由橘子社Orange制作，久石让打造原创歌曲。

1999年世纪末，一颗印度的核子卫星即将坠地，地球上一片恐慌，视之为世界末日的到临。住在巴黎的女子克蕾儿（Solveig Dommartin饰）在一次离开男友尤金（Sam Neill饰）的浪游中，认识疑为工业间谍的崔佛（William Hurt饰），并且深深为之着迷。一 次车祸意外中，克蕾儿认识二名抢匪，受托运送大批赃款，克蕾儿开始出发去寻找迷一样的人物崔佛。他们的足迹遍布四大洲：从尼斯、巴黎、柏林、里斯本、莫斯科、北京、东京、追逐到旧金山、雪梨，最后到达澳洲中部荒芜的库柏培地原住民生活区。过程中，克蕾儿终于知道崔佛的本名是山姆法柏。他不是工业间谍，而是一位科学家的儿子。许多私家侦探追逐他的原因是老法柏（Max von Sydow饰）制造了一个可以让盲人看见的摄影机。为的是要让山姆目盲的母亲（Jeanne Moreau饰）可以看见她的亲人。就在一群人汇集澳洲峡谷的时候，核子卫星被美国打下，核磁波干扰了所的电器设备，一切都恢复原始的状态。外头的世界不知是生是死？这群人在地下实验室里开始了一连串超越人类科技的实验，数字摄影转换成脑波、再转换成影像的实验成功，终于让山……

一个男人和一个女人开着一辆野营车在世界各地旅行。尼吉是一位充满热情的摄影师，他挚爱的妻子安妮特却因二十年前的意外而高位截瘫，脖子以下都无法动弹。尽管如此，两人依然一往无前，与生活斗智斗勇，从痛苦中找寻意义。然而，当两人的生活现状发生巨变，他们的感情是否也会遭遇波折？带着好奇与思考，《永远与永恒》的导演试图在影片中找出一条万全之策。

影片讲述美籍华人吴菲，她沿着汉江来到汉水南岸一座有着三百年历史的古老村落，寻找祖母的故乡的故事。这也是一部以外来的、世界的眼光，重新打量和解读中国传统的“道法自然”，展现中国农耕文明及其在现代文明中的启示和意义的影片。 　　电影类型为公路片的外壳，文艺片的内核，以故事情节自然推动探讨深层次人类永恒的追问：我们到底在寻找什么，什么样的世界才是我们想要的世界，我们从哪里来，要到哪里去？ 　　美籍华人吴菲，生活一直游走在支离破碎的现实与超现实的梦境中不能自拔，她对故乡的思念、对爱情的不确定，前途的迷惘……种种情愫混杂在一起，彼此纠缠，终于有一天，她按照祖母留下的藏头诗，来到中国，沿着长江寻找故乡，她看见了在河水边的长桌宴，百岁通神的老人……以及三百年了依然飘着稻花香的“道法自然”修建的不需要人工灌溉的梯田，她看见了自己从来没有见过的世界，也找到了内心的困惑所在，走出了迷惘。 　　电影风格以写意的镜头为主，将司空见惯的场景拍摄得诗意，吴菲走在一个个精选的场景中像是走在一个又一个梦中，唯美却又真实，演员表演风格清新、自然，与人物所处的环境相得益彰，不动声色地展现人物的内心世界，色彩较好地呈现人物之间矛盾与冲突，强化每一个戏剧场面的情绪，为人物服务。 　　台词以诗意哲理的对话，几首短诗作为旁白，呈现女主的内心世界，音乐除了烘托剧情需要外，以写意的、轻盈的为主，电影结构一气呵成。

During a flight, passengers confront their aspirations, frustrations, fears, wishes and fears, mixing up reality and fiction. 　　Several characters board a plane: a soccer team, a football manager, a decrepit old man, a group of nuns and an advertinsing girl. Dreams, delusions, ideas and concrete situations related or not an individual to another. Archive scenes of war, famine and religious pilgrimages interleave to a mythical woman Nature. 　　fiction, 35 mm, pb, 95 min, based on sequences in the chapter "O delírio" of "Memórias póstumas de Brás Cubas" de Machado de Assis. 　　Fernando Cony Campos supported originality in artistic creation. He conceived it in terms of proposal, perspective, viewpoint, style, means and whatever could help form a distinctive vision. As personalities like Jean-Luc Godard or Glauber Rocha had emerged, it was up to the filmmaker to seek an alternate path to theirs, though he might fall short with the possible geniality of either. 　　This proposition alone would enable us to bring him closer to the experimental sensitivity which would eventually explode at the end of the 60s. The contact points, however, exceeded the merely shared principles. Although largely a result of a poor, long, full of setbacks production, “Voyage to the End of the World” already had in the midst of its original design elements which distinguish it as one of the immediate precursors of “Udigrúdi”. Particularly, the overlapping of various levels of enunciation and of various forms of contemporary language gradually destroys the idea of a narrative, even a sophisticated narrative as the one presented by the New Cinema directors. 　　Furthermore, if the ideological universe of the film still enables its inclusion in the group of the New Cinema, there’s a refusal to purely and simply condemn the means (or media), as they are away from mass culture. Counterculture may be alienated, but it is expressive in its constituents and particularly indicative of a state of things. Political disillusionment coexists with the chaos of the inevitable transformation. Not surprisingly does the work develop from the casual meeting of a pocket book of “Posthumous Memoirs of Brás Cubas” at a newsstand and continues incorporating fascism, consumption, mysticism, poverty... and, in an innovative, emblematic way, ”Tropicalism” (the film is full of that movement classics "Joy, joy", "Soy loco for ti America" and "Tropicália".) 　　At some point, you hear a possible self-definition of the work: "The biggest error in this movie is you, you viewer. You’re in a hurry to grow old. And the film goes slowly. You love the direct, nourished narration. The regular, fluent style. And this film and my style are like cypresses which turn left and right, move and stop, mumble, bicker, laugh, threaten the sky, slip and fall. And they fall."

During a flight, passengers confront their aspirations, frustrations, fears, wishes and fears, mixing up reality and fiction. 　　Several characters board a plane: a soccer team, a football manager, a decrepit old man, a group of nuns and an advertinsing girl. Dreams, delusions, ideas and concrete situations related or not an individual to another. Archive scenes of war, famine and religious pilgrimages interleave to a mythical woman Nature. 　　fiction, 35 mm, pb, 95 min, based on sequences in the chapter "O delírio" of "Memórias póstumas de Brás Cubas" de Machado de Assis. 　　Fernando Cony Campos supported originality in artistic creation. He conceived it in terms of proposal, perspective, viewpoint, style, means and whatever could help form a distinctive vision. As personalities like Jean-Luc Godard or Glauber Rocha had emerged, it was up to the filmmaker to seek an alternate path to theirs, though he might fall short with the possible geniality of either. 　　This proposition alone would enable us to bring him closer to the experimental sensitivity which would eventually explode at the end of the 60s. The contact points, however, exceeded the merely shared principles. Although largely a result of a poor, long, full of setbacks production, “Voyage to the End of the World” already had in the midst of its original design elements which distinguish it as one of the immediate precursors of “Udigrúdi”. Particularly, the overlapping of various levels of enunciation and of various forms of contemporary language gradually destroys the idea of a narrative, even a sophisticated narrative as the one presented by the New Cinema directors. 　　Furthermore, if the ideological universe of the film still enables its inclusion in the group of the New Cinema, there’s a refusal to purely and simply condemn the means (or media), as they are away from mass culture. Counterculture may be alienated, but it is expressive in its constituents and particularly indicative of a state of things. Political disillusionment coexists with the chaos of the inevitable transformation. Not surprisingly does the work develop from the casual meeting of a pocket book of “Posthumous Memoirs of Brás Cubas” at a newsstand and continues incorporating fascism, consumption, mysticism, poverty... and, in an innovative, emblematic way, ”Tropicalism” (the film is full of that movement classics "Joy, joy", "Soy loco for ti America" and "Tropicália".) 　　At some point, you hear a possible self-definition of the work: "The biggest error in this movie is you, you viewer. You’re in a hurry to grow old. And the film goes slowly. You love the direct, nourished narration. The regular, fluent style. And this film and my style are like cypresses which turn left and right, move and stop, mumble, bicker, laugh, threaten the sky, slip and fall. And they fall."

这部影片讲述的故事发生在巴伦支海附近的小村中，但也可能发生在任何一个个人利益与政权利益发生冲突并且能够提前明确谁会赢得战斗的国家。贪得无厌的市长盯上了尼古拉一家所住的房子，并企图白占那块土地——实际就是强占。市长行为粗鲁，一切都在他的掌控之下，从警察局到法院，他知道如何驯服不顺从的人。

这部影片讲述的故事发生在巴伦支海附近的小村中，但也可能发生在任何一个个人利益与政权利益发生冲突并且能够提前明确谁会赢得战斗的国家。贪得无厌的市长盯上了尼古拉一家所住的房子，并企图白占那块土地——实际就是强占。市长行为粗鲁，一切都在他的掌控之下，从警察局到法院，他知道如何驯服不顺从的人。

根据电影设定，人类在 22世纪初时已经能够超越光速进行星际旅行，到 外星球捕猎异形生物已经成为一种日常，不过从事这种危险工作的都是走投无路的穷苦劳力。

在梅尔维尔的皮廓德号追赶白鲸的地方，《利维坦》捕捉到了人类、自然和机器的合作冲突。这部影片由十几台摄影机拍摄，这些摄影机被抛来抛去，从渔民到制片人，这是一幅从未见过的商业捕鱼的宇宙画卷。