以三峡渡船为引，构筑了一部充满关怀的景观档案。舒缓镜头定格岸边众生，将视线投向“他者”。 不必书写悲怆，只需要静静记录普通人在时代洪流中的生活位置。

作过一次临时演员后，小康（李康生）罹患歪脖子的怪病，父亲（苗天）带其四处求医。 父亲虽已有妻、子，却是贪恋年轻男孩身体的同性恋者，家庭对他早已名存实亡，已丧失承担责任的能力（或认为并没什么责任要承担），可是对于小康，他又不自觉扮演起传统意义上的“父亲”角色，却也只能是失职的。小康是年轻的同性恋者，可是却并不清楚自己期望从同性处获得怎样一种安慰，父母的貌合神离不但令他对男女关系失掉信心，对同性关系的理解也盲从地认为只是两具肉体的短暂吸引、结合。而作为被丈夫（同时代男人）与儿子（更年轻的男人）同时冷落的母亲（陆筱琳），则只能默默忍受肉体与精神的双重饥渴与孤独。

Judge Krishna (Rahul Roy) and Radha (Manisha Koirala) are in love. Due to class conflicts, they are unable to marry, but continue with a very intimate relationship, which results in Radha getting pregnant. Then Gopal (Salman Khan) enters Radha's life, and he falls in love with her. Radha, who is still in love with Krishna, is unable to express her feelings for Gopal. Circumstances become favorable for Gopal and he succeeds in marrying Radha, and subsequently, Radha gives birth to a baby girl, Shanti. Leaving the child with Gopal, Radha then leaves him, never to return. Krishna and Gopal meet and become close friends, little knowing of their mutual love. Why did Radha leave Gopal? What will be the outcome of Gopal and Krishna's friendship when they both come to know of their love for Radha?

« Entre Pyrénées et Atlantique coulent des rivières puissantes qu’on appelle les gaves. Les champs de maïs les assoiffent, les barrages bloquent la circulation du saumon. L’activité humaine bouleverse le cycle de l’eau et la biodiversité de la rivière.» « Pour voir la rivière aujourd’hui, il faut filmer plus large que la rivière, il faut filmer le bassin versant, le cycle de l’eau. Il faut la faire exister dans ses extensions souterraines et aériennes, les nappes et les nuages, mais aussi la chercher jusque dans le champ de maïs, la frayère à saumons, les retenues qui la bloquent. Il faut la filmer suspendue entre mémoire d’un passé fastueux et peur d’un avenir desséché. Filmer les gaves, c’est filmer notre monde dans son intrication de beauté et de désastre. » (Dominique Marchais)

Film takes place at the end of XIX century in a tiny colony in a Yakut taiga. A young healthy girl (a thief hunter) who occasionaly visits the village falls in love with one of the patients, a young one, and bears his child. But suddenly his wife appears, and in this strange love triangle the tragedy becomes ripe...

A young woman and man meet for lunch in restaurant nestled in the mountainous regions of Lebanon. Suddenly war seems to break out all around them. They are forced to retreat into nature.

The River, of which the central theme is desire, is the most erotic film of the silent cinema. Wreathed with the laurels of worldwide success and with an Oscar for 7th Heaven, American filmmaker of Italo-Swiss origin, Frank Borzage (1894-1962) conceived this work with complete artistic freedom. The immense natural sets were built in the open-air on a lot at Fox Film in Westwood, Los Angeles. The initial situation is of an Eden-like simplicity: the initiation into love of a male virgin, a man of the woods coming into contact with a mysterious female urbanite about whom we learn but little, other than that she "has lived life to the full" and that she is always monitored by the crow belonging to her lover who was imprisoned for murder. There follow the hazards of seduction and refusal, ruses and inhibitions, endless desires confessed, with many hitches, right up to metamorphosis into love. The whole narrative unfolds on the banks of a river which reveals the nudity of the bodies (sex), the mortal perils of the vortex (passion), the purification and promise of a harmonious fulfillment (the sea.) When it first came out the film was pursued by misfortune: not quite knowing how to promote it, Fox disguised the work with a musical prologue and a spoken word ending, filmed behind the back of the cineaste (the 'talkie' version was unseen outside of the United States). The strong sensuality of the images shocked puritan America: The River was forbidden a screening in many States and a tacit consensus limited its distribution. Many newspapers passed over the film in silence, boycotted the publicity, and even the « New York Times » only granted it a small, embarrassed paragraph. In Europe the reception was warmer and the French movie-goers, amongst them the young Marcel Carné, praised the film to the skies (7 weeks exclusive in Paris). The surrealist milieus around André Breton saw in this Woman With Raven, as which the film was distributed in France, more true audaciousness and insight than in the entire French avant-garde. For the duration of the season, the disturbing Mary Duncan (1895-1993) provoked flights of fantasy under the same heading as Louise Brooks. Then the film disappeared, became a legend. It is rumoured to have been lost, just like the other mythic title from Fox, Murnau's 4 Devils filmed at the same time.

影片讲述三个发生在伦敦100条街道上的故事。故事主角有一个退役后的橄榄球球星﹙伊德里斯·艾尔巴饰演﹚和他的妻子﹙杰玛·阿特登饰演﹚，一个出租车司机，和一个毒贩小喽罗﹙弗朗茨·德拉姆饰演﹚，分别代表伦敦市民的三个阶级。

三位主人翁，三个独立的故事，他们都生活在在伦敦，相隔一百条街以内。《一百条街》的故事就在这座大城市中展开，伊德瑞斯·艾尔巴饰演的前橄榄球明星Max因为和保姆偷情而被妻子Emily（杰玛·阿特登 饰）疏远，他努力弥补自己的过错；弗兰兹·德拉梅饰演毒贩Kingsley厌倦了这样的黑暗生活，寻找一份靠谱的工作，重新规划自己的人生；出租车司机George（Charlie Creed-Miles 饰）则想收养一个孩子，让自己的妻子能享受天伦之乐。

Inspired by the true story of Siseko Ntondini and Piers Cruickshanks, who together won gold in the 2014 Dusi, Beyond the River delivers a nail-biting adventure story about the triumph of the human spirit.