为意大利留下了联合国世界文化遗产建筑群“维琴察古城及威尼托乡间别墅”，著述了不朽的《建筑四书》，文艺复兴时期建筑大师安德里亚·帕拉第奥（Andrea Palladio）改写了世界建筑史。后世，远在大洋彼岸的白宫、美国国会大厦、华尔街证交所等地标性建筑都师承帕拉第奥所开创的建筑风格，2010年美国国会通过决议，尊奉其为“美国建筑之父”。 　　贾科莫·加蒂（Giacomo Gatti）执导的纪录片《帕拉第奥》打破枯燥的历史或传记纪录片模式，走访意大利威尼斯、维琴察、美国华盛顿、比利时布鲁塞尔等多座城市，寻访帕拉第奥的建筑遗产及其背后的人文主义精神。片中有彼得·艾森曼（Peter Eisenman）、肯尼斯·弗兰姆普顿（Kenneth Frampton）等当代最杰出的建筑师带来的名家解读，耶鲁大学的年轻建筑师思考“帕拉第奥母题”在当下如何表达，接受采访的还有至今仍居住帕拉第奥建筑中的人们——多元叙述给予观众丰富而生动的观察视角。

本片是一部关于白俄罗斯著名民族诗人杨卡·库帕拉的传记剧情片。出生于1882年的库帕拉被认为是二十世纪最伟大的白俄罗斯语作家之一，其作品已成为白俄罗斯的文学经典。影片对诗人的回忆从他的童年开始，逐渐揭开诗人的过往和成长经历，由此刻画了一位在动荡历史时期意志坚定、内心纯真的伟大诗人形象。

皮欧特尔是一个谦虚的农民，生活在一个贫穷的村庄，在一个不确定的久远的时代。他想娶可爱的皮多卡，但她严厉的父亲不允许。幸运的是，淘气的恶魔巴萨鲁夫在这片土地上游荡，并向他提出一个交易……

帕拉迪姆大巴”是巴黎一处著名夜店的名字。影片主人公是上世纪八十年代四位少年时代的好友，讲述了他们组成的摇滚乐队从成名到毁灭的故事。

With a title taken from a Latin poem by Virgil, Sulev Keedus directed this Estonian drama about a youth, Maecenas (Mait Merekulski), who is sent from the Russian mainland to a remote Estonian island where the only resident is an old man, Jakub (Evald Aavik), whose memories surface in flashbacks, revealing his past as a missionary collecting Zulu songs. These images are contrasted with the more recent traumatic events experienced by Maecenas. Shown at the 1998 Seattle Film Festival. ~ Bhob Stewart, All Movie Guide

《诗集》是一档以影片形式呈现诗歌朗诵的节目。在节目里，明星们朗诵优美的诗篇，同时搭配上唯美的音乐和视频画面，为观众呈现出最美的诗歌影像集。

《诗集》是一档将诗歌朗诵以影片的形式呈现的节目。该节目里由明星朗诵出优美的诗篇，配以唯美的音乐与视频画面，为大家呈现最美的诗歌影像集。

"Paracelsus," which was shown at the First Avenue Screening Room last Sunday and will be repeated there at noon and midnight today and tomorrow, is a very special footnote to film and political history. Never before released in New York, it is the second film made by the great, supposedly left-wing German director, G. W. Pabst, after he returned to Nazi Germany just in time for World War II. 　　Pabst, who died at the age of 82 in 1967, is a fascinating character, known as "the red Pabst" (Papst means pope in German) until he went back to Hitler's new German empire. His best films, including the silent "Joyless Street" with Greta Garbo and "The Threepenny Opera" (1931), are rather uproarious amalgams of stark realism, wild melodrama and pure poetry. Lots of elements in his films look dated today but also there is usually, something that looks totally new and surprising. 　　"Paracelsus," considering when it was made (1943) and under what conditions, is a remarkably interesting film, though full of not especially well disguised propaganda. It's the story of Paracelsus, the 16th-century Swiss healer whose reputation took on a new vogue in the Germany of the early nineteen-forties. Nazi writers and intellectuals began to attribute all sorts of Nazi ideals to the mystic healer who had been ridiculed and oppressed for choosing to write in German instead of Latin and who had challenged the authority of vested (feudal) interests. 　　With the exception of Werner Krauss, who plays Paracelsus as a sort of medieval Dr. Gillespie, crusty but kind, the acting is operatic. The screenplay is full of noble opinions about the German character and its ability to triumph over the ignorance of its enemies. 　　The physical production, however, is astonishingly handsome. In addition, the movie contains one of Pabst's most magical scenes, in which Death, in the person of a juggler, enters a town in the siege of plague and invites the citizens to join him in a celebratory dance. Realism moves into fantasy (and back again) with less awkwardness than most other directors display when making a simple cut between two scenes in the same style. 　　A further footnote to this footnote to history: after the war, Pabst went on to make other films, including "The Trial" (1949), about anti-Semitism in Hungary in 1882, but Werner Krauss was blacklisted, largely for his participation in the notorious "Jud Süss."

The film shows the unique world of artist Sergei Parajanov, whose brilliant images in films and collages aroused the suspicion of Soviet authorities.