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.

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.

タレント名鑑に掲載されている有名人にまつわる様々なクイズやゲームが出題される。本人のいないところで出演者達が遠慮なく好き勝手に語りあう内容から、「日本一下世話なクイズ&バラエティ」を自称する。

タレント名鑑に掲載されている有名人にまつわる様々なクイズやゲームが出題される。本人のいないところで出演者達が遠慮なく好き勝手に語りあう内容から、「日本一下世話なクイズ&バラエティ」を自称する。

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。

本片以深入浅出的剧情见证数百万年前人类始祖的生活，带您深入了解不可思议的人类演化历史。本系列描述的是一个物种，看他们如何结合各种特征并形成强势的本能，逐渐演化最后征服世界的故事，这个物种，没错，就是我们：现代人。这是一趟寻根之旅，藉由特效与先进的人工修补技术，并以科学化的方法，将人类始祖精确地重现在我们的眼前；此外片中也透过计算机绘图与创新的数字科技，完整的仿真他们的生活环境。 　　此外，本片也提供一个机会让我们得以探寻史前人类生活行为、并且揭露猿人始祖的特性是如何的留传给现代人，甚至进而了解到经由那些关键的特征，才会演化出今天现代人两足运动的模样，也看看他们如何打开使用各项惊奇新技能的大门。同时也探讨为何一个食腐的物种能比深思熟虑的物种具有更强的求生本能？经由这些的见证，让我们开始对观察其它人的思维与感觉产生兴趣。最后我们将揭开人类成为成功独特物种的主要关键在于：想象力。 　　 　　第一集：潜力无穷（The Potential） 阿法南猿 　　 　　第二集：不适应者（The Misfits） 鲍氏傍人 　　 　　第三集：读心物种（The Mindreaders） 匠人（即非洲的直立人） 　　 　　第四集：幸存者（The Survivors） 海德堡人，中国和印度的巨猿也将登场 　　 　　我们的祖先如何从爬行到直立行走，从用手势到发明语言，然后慢慢的发展工具来为了更好的生活，直到产生各种各样艺术类的东西，这一切你都了解么，如果你想知道的更详细，本片将告诉你……

讲述澳门放映业与世界电影同步发展百年沧桑故事的同时，让观者了解澳门的人文历史。