这部电影记录了宾夕法尼亚州本地人詹姆斯·斯图尔特在好莱坞的崛起历程，其中包括他凭借《费城故事》获得奥斯卡奖。之后，在第二次世界大战初期，他加入美国陆军航空队，成为一名战斗飞行员。他回国后不久，于1946年出演了卡普拉执导的《生活多美好》。

Au cours d’un trop long été, Jimmy, un enfant de 13 ans que les circonstances forcent à devenir trop vite adulte, se cogne aux limites de sa petite ville et de sa vie heurtée, entre une mère à la dérive et un beau-père qui la tient sous sa coupe.

If something characterizes Reichardt's work, it's that it always finds its characters downhill. And if that vivid decadence, that pain of not being anymore that transmit the characters in River of Glass, Old Joy and Wendy and Lucy, her three features, already causes anguish, those great moments of pain captured by the director intensify, through condensation, in each of her short subjects. Death is lord and master in the shorts Then, a Year and Travis, and also in Ode, the only mid-length film by this daughter of cops (him, scientific; her, narcotics). Then, a Year combines, without attempting any kind of narrative, Reichardt in her adoptive Portland with a pastiche that mixes statements from different shows about crimes of passion. This idea is resumed in Travis, video-installation where that focus that never reaches the image, sensed as violent close-ups of a fixed photograph, is centered in politics: Reichardt infinitely loops fragments from the interview with a mother that has lost her son Travis in Iraq, and who, in every little confession, leaves a piece of her heart. Lastly, in Ode, the director shows the courage for loving of two young Baptists, capturing, for three quarters of an hour, the story of a love that could never be between Billy Joe and Bobbie Lee, and its tragic outcome. And the inevitable one, because there's no place for the humbled joy of those poor old hearts in the oppressive world of the religious deep America. in Ode, the director shows the courage for loving of two young Baptists, capturing, for three quarters of an hour, the story of a love that could never be between Billy Joe and Bobbie Lee, and its tragic outcome. And the inevitable one, because there's no place for the humbled joy of those poor old hearts in the oppressive world of the religious deep America. in Ode, the director shows the courage for loving of two young Baptists, capturing, for three quarters of an hour, the story of a love that could never be between Billy Joe and Bobbie Lee, and its tragic outcome. And the inevitable one, because there's no place for the humbled joy of those poor old hearts in the oppressive world of the religious deep America.

If something characterizes Reichardt's work, it's that it always finds its characters downhill. And if that vivid decadence, that pain of not being anymore that transmit the characters in River of Glass, Old Joy and Wendy and Lucy, her three features, already causes anguish, those great moments of pain captured by the director intensify, through condensation, in each of her short subjects. Death is lord and master in the shorts Then, a Year and Travis, and also in Ode, the only mid-length film by this daughter of cops (him, scientific; her, narcotics). Then, a Year combines, without attempting any kind of narrative, Reichardt in her adoptive Portland with a pastiche that mixes statements from different shows about crimes of passion. This idea is resumed in Travis, video-installation where that focus that never reaches the image, sensed as violent close-ups of a fixed photograph, is centered in politics: Reichardt infinitely loops fragments from the interview with a mother that has lost her son Travis in Iraq, and who, in every little confession, leaves a piece of her heart. Lastly, in Ode, the director shows the courage for loving of two young Baptists, capturing, for three quarters of an hour, the story of a love that could never be between Billy Joe and Bobbie Lee, and its tragic outcome. And the inevitable one, because there's no place for the humbled joy of those poor old hearts in the oppressive world of the religious deep America. in Ode, the director shows the courage for loving of two young Baptists, capturing, for three quarters of an hour, the story of a love that could never be between Billy Joe and Bobbie Lee, and its tragic outcome. And the inevitable one, because there's no place for the humbled joy of those poor old hearts in the oppressive world of the religious deep America. in Ode, the director shows the courage for loving of two young Baptists, capturing, for three quarters of an hour, the story of a love that could never be between Billy Joe and Bobbie Lee, and its tragic outcome. And the inevitable one, because there's no place for the humbled joy of those poor old hearts in the oppressive world of the religious deep America.

吉米的父親是一個冷戰時期駐守台灣的美國黑人，吉米單親混血兒的背景加上他變裝皇后的身分，使得他一直在台灣社會邊緣遊走，卻有其獨特的生活方式。

吉米的父親是一個冷戰時期駐守台灣的美國黑人，吉米單親混血兒的背景加上他變裝皇后的身分，使得他一直在台灣社會邊緣遊走，卻有其獨特的生活方式。

吉米结束在美国的十年流亡生涯后回到祖国，帮助母亲打理农场。此时，爱尔兰内战已经结束十余年，新政府也已经建立，这个国家又重新燃起了希望。尽管不想再与教会和地主阶级重新为敌，但在利特里姆郡的年轻人的要求下，吉米还是决定重开舞厅，以供大家跳舞、学习和辩论。

每年圣诞杰米都会应邀参加圣诞节TV Chef节目出谋划策。