After the death of his wife, former civil servant Henri Rousseau takes up painting full time. Coming across as a rarified boob, Russell's version of Rousseau could best be described as an accidental master. Most of his canvases are crackpot versions of reality as seen through the eyes of a naïve painter, and his loneliness and lack of worldly perspective really amplifies his applied amateurishness. Russell treats this tale as sadly comic, and there are many jokes and jibes as Rousseau's expense. In fact, there is such a lighthearted atmosphere here that when we finally view the artist's best known masterpiece - "The Sleeping Gypsy" - it comes as quite a shock. Indeed, many of Russell's films purposely demystify the legendary, showing them just as capable of flaws and foibles as us mere humans. Indeed, as he continued on in his career, the filmmaker would make such an approach his main raison d'etra. Much of his work here can be seen as the basis for Women in Love, Tommy, and his ultimate classical rock god goof, Listzomania. 　　A dramatised portrait of the painter Henri Rousseau (1844-1910), known popularly as 'Le Douanier' because of his day job as a Customs clerk (he never reached the level implied by the nickname), both the film's best-known title and the one that actually appears on screen (Henri Rousseau: Sunday Painter) refer to the fact that his art had to be produced in his spare time, even after retirement. 　　Rousseau is played by the painter James Lloyd, the subject of an earlier Ken Russell Monitor documentary whose own career as a misunderstood naïve painter had many similarities. As Russell later told his biographer John Baxter, "He helped a lot with the atmosphere and the actors, because professionals have to adopt a different attitude when they're with someone like that. They can't do their 'acting' bit." 　　It was Russell's first fully dramatised biopic, without either the restrictions imposed by Monitor's former editor Huw Wheldon or the complex film-within-a-film framework of The Debussy Film. Here, the actors use their own voices (Lloyd's Cheshire accent neatly paralleling Rousseau's provincial Breton) or, in Annette Robertson's case, are dubbed by a male voice to create an unsettlingly androgynous Alfred Jarry. The film also reunited Russell with Melvyn Bragg and Oliver Reed, who wrote and delivered the understated commentary. 　　Given Russell's own battles with both critics and producers, it's tempting to assume that Always on Sunday is exorcising personal demons, as the film is both by and about artists who operate on instinct, frequently puting them at odds with the expectations of the mainstream establishment. Although Russell had had a much easier ride than Rousseau (at least up to this point), his work had already undergone much criticism and creative interference.

卢梭1844年生於法国西北部的拉瓦尔市，幼年家境并不富裕，1871年进入巴黎市政府海关处担任收税员，而终其一生，就是担任这个安份的公务员；他的闲暇嗜好，就是创作绘画，曾经获准在罗浮宫美术馆临摹。曾经参加官方的沙龙展，却未曾入选；但他仍自得其乐的不断创作。 　　卢梭於 1855 年从巴黎一所收费站中退休后，始全力作画，因此博得「关税员」的称号。别人常把他归为「原始的」、「素人的」、「周日画家」之列，他却光明正大地认为自己是不折不古的专业画家。 　　1891年起常至植物园观赏温室里的热带景物，创作了许多充满幻想式的作品，如「睡眠中的吉普赛女郎」、「梦」等，1893年退休之后，生活清苦，却全心投入绘画创作；他充满想像的作品，却获得了诗人的赞赏及毕加索等前卫画家所推崇。 　　卢梭画的主题包罗万象，除了巴黎市郊，还有手法率真直接的人像，瑰丽的寓言性作品，花卉、尤其是一批富异国情调的大幅幻想式作品，这些作品是他常逛巴黎的公园、植物园、动物园所激发出来的。 　　卢梭创作热衷于创造一个幻想的世界，他的艺术很难归到哪一派，但他的画法属超现实主义。他似乎总是生活在一个梦幻的世界，这种与生俱来的爱幻想的天真性格，在他的日常生活中也充满天真烂漫，他的画具有原始童话般的魅力。

卢梭1844年生於法国西北部的拉瓦尔市，幼年家境并不富裕，1871年进入巴黎市政府海关处担任收税员，而终其一生，就是担任这个安份的公务员；他的闲暇嗜好，就是创作绘画，曾经获准在罗浮宫美术馆临摹。曾经参加官方的沙龙展，却未曾入选；但他仍自得其乐的不断创作。 　　卢梭於 1855 年从巴黎一所收费站中退休后，始全力作画，因此博得「关税员」的称号。别人常把他归为「原始的」、「素人的」、「周日画家」之列，他却光明正大地认为自己是不折不古的专业画家。 　　1891年起常至植物园观赏温室里的热带景物，创作了许多充满幻想式的作品，如「睡眠中的吉普赛女郎」、「梦」等，1893年退休之后，生活清苦，却全心投入绘画创作；他充满想像的作品，却获得了诗人的赞赏及毕加索等前卫画家所推崇。 　　卢梭画的主题包罗万象，除了巴黎市郊，还有手法率真直接的人像，瑰丽的寓言性作品，花卉、尤其是一批富异国情调的大幅幻想式作品，这些作品是他常逛巴黎的公园、植物园、动物园所激发出来的。 　　卢梭创作热衷于创造一个幻想的世界，他的艺术很难归到哪一派，但他的画法属超现实主义。他似乎总是生活在一个梦幻的世界，这种与生俱来的爱幻想的天真性格，在他的日常生活中也充满天真烂漫，他的画具有原始童话般的魅力。

在香港光鲜的表面下，来自菲律宾的家政服务人员领着可怜的薪水默默无闻的工作。在一次盛大的选美比赛中，五个家政服务人员给自己进行了一次大变身，并且重拾他们的尊严。导演记录下五位有魅力而且勇敢的菲律宾女性，她们通过举办盛会，成为香港190000菲律宾人的窗口，保持她们的尊严。这部纪录片讲述的是一个令人鼓舞的故事，它让大家开始关注越来越多的移民者群体所发出的声音。 　　Beneath Hong Kong's glittering facade, Filipinas working as domestic helpers work in relative anonymity and for near slave wages. In a beauty pageant like no other in the world, five helpers give themselves makeovers for a day and gleefully reclaim their dignity.

在香港光鲜的表面下，来自菲律宾的家政服务人员领着可怜的薪水默默无闻的工作。在一次盛大的选美比赛中，五个家政服务人员给自己进行了一次大变身，并且重拾他们的尊严。导演记录下五位有魅力而且勇敢的菲律宾女性，她们通过举办盛会，成为香港190000菲律宾人的窗口，保持她们的尊严。这部纪录片讲述的是一个令人鼓舞的故事，它让大家开始关注越来越多的移民者群体所发出的声音。 　　Beneath Hong Kong's glittering facade, Filipinas working as domestic helpers work in relative anonymity and for near slave wages. In a beauty pageant like no other in the world, five helpers give themselves makeovers for a day and gleefully reclaim their dignity.

周日早上，小娘受开始了周末男仆的工作，受尽主人冷漠。但事实真的是这样吗？

周日早上，小娘受开始了周末男仆的工作，受尽主人冷漠。但事实真的是这样吗？

Sunday night. Alex is an ultras, his team has just lost a match and he is going home empty-headed. In the absence of his parents, he lives with his grandmother and sells Rivotril tablets to make some money. On a night that’s struggling to take off, Alex goes down to the basement and into a cellar where a bunch of people are gathered. A rap battle is in progress. Nemy is a girl with refined bars, who dances confidently and sinuously. She notices Alex and seeks him out. Together they venture into the night, driving in a stolen car. Two solitudes that recognise each other. Their bodies brush against each other in what seems to be the beginning of a story.

Sunday night. Alex is an ultras, his team has just lost a match and he is going home empty-headed. In the absence of his parents, he lives with his grandmother and sells Rivotril tablets to make some money. On a night that’s struggling to take off, Alex goes down to the basement and into a cellar where a bunch of people are gathered. A rap battle is in progress. Nemy is a girl with refined bars, who dances confidently and sinuously. She notices Alex and seeks him out. Together they venture into the night, driving in a stolen car. Two solitudes that recognise each other. Their bodies brush against each other in what seems to be the beginning of a story.

A sex comedy anthology containing four stories, each from a different country (England, France, USA and Italy). "An Englishman's Home" "The French Method" "Armando's Notebook" "Skippy"