一段发生在路途的兜兜转转的梦，对身份的捕捉以及自我的迷失。

Castrato，也叫假声男高音，阉人名伶，阉人歌唱家，原本存在于教堂，是诗班中充当女性不能进入演出时的替代，采用假声演唱，他们的声音气声的成份很高；阉人歌唱家经过长年的训练后，能够用像是男高音一样的歌声，却演唱超过女高音的音域，这也是后者让当时人深感兴奋的原因。他们18世纪达到辉煌，成为一种流行的文化现象，superstar.

Castrato，也叫假声男高音，阉人名伶，阉人歌唱家，原本存在于教堂，是诗班中充当女性不能进入演出时的替代，采用假声演唱，他们的声音气声的成份很高；阉人歌唱家经过长年的训练后，能够用像是男高音一样的歌声，却演唱超过女高音的音域，这也是后者让当时人深感兴奋的原因。他们18世纪达到辉煌，成为一种流行的文化现象，superstar.

故事发生在距今千百万年前的原始社会，皓月当空，月朗星稀。原始丛林的某个角落，山洞内闪耀着乳黄色的火光。镜头拉近，我们看见一个身穿兽皮、胡子拉碴的原始人正用手在岩壁上涂涂画画。他正在画一个体型丰满到极度变形的女子，女子裸露全身，线条曼妙流畅。而且壁画不止一副，而是画了很多女子一字排开。当最后一幅完成之后，我们的原始人艺术家开始以极其超前的方式欣赏着他的旷世杰作…… 　　本片为2002年法国昂西动画节开幕动画短片。

故事发生在距今千百万年前的原始社会，皓月当空，月朗星稀。原始丛林的某个角落，山洞内闪耀着乳黄色的火光。镜头拉近，我们看见一个身穿兽皮、胡子拉碴的原始人正用手在岩壁上涂涂画画。他正在画一个体型丰满到极度变形的女子，女子裸露全身，线条曼妙流畅。而且壁画不止一副，而是画了很多女子一字排开。当最后一幅完成之后，我们的原始人艺术家开始以极其超前的方式欣赏着他的旷世杰作…… 　　本片为2002年法国昂西动画节开幕动画短片。

Included in Jonathan Rosenbaum’s list of 1000 essential films, Parviz Kimiavi’s The Mongols (1973) is a leftfield satire and sharp commentary on the expanding presence of cinema and television in Iran. The story follows a filmmaker, played by Kimiavi himself and also named Parviz, as he struggles with both his own film and a looming assignment to oversee the installation of a television relay station in the remote province of Zahedan. Imbued by his wife’s thesis work on the Mongol invasion of Iran, Parviz’s anxieties coalesce and materialize in the form of surreal visions in which the origins of cinema are acted out by the Turkomans he hired to play Mongols in his own film. Together with Parviz, we watch as the would-be gang of Mongols wander the desert in search of their director and the answers to their pressing questions about the nature of cinema, all while the forthcoming introduction of television consumes the local village and its inhabitants. Kimiavi fashions a fantastical cinematic space rife with bizarre metaphoric imagery and Godardian references to film-making in order to draw a sarcastic parallel between the Mongol invasion and the hyper-accelerated modernization of 1970s Iran. 　　A director of a television series on the history of cinema, who has been grappling with the screenplay of his first feature film, receives an assignment to oversee the installation of a television relay station in a remote region of Zahedan province, near the Afghanistan border. He has already hired Turkoman tribespeople for his film and selected his filming location. Meanwhile his wife, who is working on her Ph.D. dissertation about the Mongol invasion of Iran, attempts to dissuade him from accepting the assignment. One night, while working on his history of the cinema series, the director fantasizes a diagetic world that consists of clever juxtapositions of his different worlds: the history of cinema, the history of the mongol invasion, his own film idea and his imminent assignment to the desert.

Using film as a material for building a model means necessarily foregoing the copying function, and as it were playing with the possibilities within a specific framework, contents and conditions of film itself.

Using film as a material for building a model means necessarily foregoing the copying function, and as it were playing with the possibilities within a specific framework, contents and conditions of film itself.

根据诺曼·莱布得勒支创作的同名小说改编，讲述二战时的伦敦，两个少年马丁和道维多尔成为生死之交。道维多尔是个从华沙流亡过来的小提琴手，寄居在马丁家。然而，就在道维多尔的小提琴独奏会的首演当晚，他却神秘地失踪了，这件事成了马丁几十年的心结。

根据诺曼·莱布得勒支创作的同名小说改编，讲述二战时的伦敦，两个少年马丁和道维多尔成为生死之交。道维多尔是个从华沙流亡过来的小提琴手，寄居在马丁家。然而，就在道维多尔的小提琴独奏会的首演当晚，他却神秘地失踪了，这件事成了马丁几十年的心结。