一位曾被关押在集中营的囚犯留下的遗书，促使两个来自不同世界的年轻人当面对质，这不仅改变了他们的人生轨迹，还揭开了各自家庭背后的悲惨历史。

Otto Muehl Kardinal Perinetkeller Wien Frühjahr 1967 http://www.ubu.com/film/muehl.html Kamera Helmut Kronberger Otto Muehl (born June 16, 1925, at Grodnau, Burgenland, Austria) is an Austrian artist. He started painting in his youth and in the 60s was one of the co-founders, and an important member, of Wiener Aktionismus or Viennese Actionism. In 1972 he founded the famous commune Friedrichshof that flourished for several years before falling apart in the 1990s. Muehl himself was sentenced to 7 years imprisonment for having sexual relationships with teenagers. He was released after 7 years and set up a smaller commune in Portugal. In 1943, Otto Muehl served in the German Army and in 1944 he was sent to the Front. After the war, he studied teaching German and History, and Pedagogy of Art at the Wiener Akademie der bildenden Künste. In the sixties his aim was 'to overcome painting on canvas through staging the process of its destruction'. He made rhizomatic structures with scrap iron ("Gerümpelplastiken"), but soon proceeded to the "Aktion" in the vein of the New York Happenings. In 1962, when he was 37, the first "Aktion" "Die Blutorgel" was performed in Muehl's atelier in the Perinetgasse by Muehl himself, Adolf Frohner and Hermann Nitsch. The "Fest des psycho-physischen Naturalismus" and "Versumpfung einer Venus" followed in 1963. From 1964 to 1966 many "Malaktionen" were filmed by Kurt Kren and photographed by Ludwig Hoffenreich. In 1966 a new concept of Aktion was developed with Günter Brus: instead of the canvas, the body became the scene of action. In 1968, Muehl, Brus and Oswald Wiener organised an Aktionsveranstaltung "Kunst und Revolution" in the University of Vienna, which caused a scandal in the press; they were arrested and Brus emigrated to Berlin. Gradually, Muehl began to distance himself from "Aktion". He regarded the "happening as a bourgeois artform, mere art". The "transition from art to life" resulted in the founding of the commune as a kind of anti-society. Inspired by Wilhelm Reich, all members submitted to the so-called Aktionsanalyse. The declared aim was the destruction of bourgeois marriage and private property, free love, and collective education of the children. In 1974 he played a small role as a member of an anarchic/therapy commune in Dusan Makavejev's Sweet Movie. In the eighties, tensions within the commune increased until they culminated in a revolt under the direction of Altenberg. When, on top of that, Muehl was arrested and imprisoned in 1991, the commune fell apart. In 1997 Muehl moved to Faro, Portugal to start a new commune experiment. Despite suffering from Parkinsons disease, Muehl continued his art work, and in 2002 developed "electric painting films", a new technique in which he paints digital photos from actions using a computer tablet and pen and edits the process into films. http://en.wikipedia.org/wiki/Otto_Muehl

Focusing on life, death and karma, this dark comedy follows three parallel tracks - a man who discovers that he is a terminally ill, a woman seeking redemption and two goons with major trust issues.

一匹名叫卡迪松的毛驴的冒险故事，改编自法国女作家塞居尔伯爵夫人的儿童小说《一头驴子的回忆录》

桑托什结婚两年，她的警察丈夫才刚在一场暴动中殉职，她随即就被狠心的婆婆逐出家门。政府让她享有丧偶优惠，得以继承丈夫在警察部队中的职位，成为一名女警。桑托什毫无任何优势，甚至得周旋于一群滥用公权、争功诿过的警察同仁之中… 当一名低种姓的年轻女孩遭到谋杀，尸体还被扔进了乡村的井里。奉命着手调查此案的她，必须负责将女孩尸体背到太平间。只因为没有任何同事想被低种姓的人玷污。桑托什的认真负责与正义感，让高级女督察莎玛印象深刻，亦师亦友的两人于是联手办案。同时得面对来自社会深层，包括阶级、性别、信仰、种姓制度等问题，以及警察执法时的各种弊端…

依据一项政府计划，新近丧偶的桑托什（Santosh）继承了她丈夫在印度北部偏远落后地区的警员工作。当一名低种姓女孩被发现遭强奸并杀害后，在极具魅力的女权主义督察夏尔马（Sharma）的庇护下，她被卷入了这起案件的调查之中。

Mirush leaves Kosovo hoping to find his father in Norway, who abandoned the family when Mirush was very young. Now the father runs a restaurant in Oslo, but he is also in deep debt to the Albanian Mafia. Mirush starts to work in his father's restaurant without letting him know that he is his son.

在印度北部乡村，桑托什新婚不久，丈夫便意外离世。好在政府出台政策，她得以继承丈夫的警员职位。本以为能借此开启新生活，可职场上，男同事的歧视与排挤让她举步维艰。祸不单行，村里惊现低种姓女孩被虐杀的惨案，在魅力十足的女权主义督察夏尔马带领下，桑托什参与调查，努力在重重阻碍中找寻真相。

The last heir of the Karmash tribe recollects his now-forgotten ancestral traditions. He wanders through fragmented memories of his past, his lineage, and the city, which is slowly fading into the ruins of his consciousness. A portrait of a man on the verge of familial madness.

加尔各答的一名政治记者发掘了一个有意思的故事：一名女子原本是普通家庭主妇，到八十年代成为希布尔臭名昭著的女黑手党头目，长期掌控该地区，但在九十年代末失踪，至今去向不明。苏丹·艾哈迈德（Sultan Ahmed）是一位个性鲜明的印度警察服务局（IPS）官员，当时的首席部长指派他去抓捕这名女匪徒，以制止流血冲突。州政府下达指令，要不遗余力地控制她。然而，她失踪的原因究竟是什么呢？——什里尼瓦斯·G·库尔卡尼