1997, 75 min., colour, BETACAM SP, Stereo 　　The Japan Foundation, North Foundation, Pandora Co., Ltd (Japan) 　　Special thanks to Hiroko Kodjima 　　scenario: A. Sokurov 　　camera: A. Fedorov 　　sound: S. Moshkov 　　editor: L. Semenova 　　“My journey to your sorrowful country cannot finish… even here in Russia. 　　I can't part with feelings which have captured me… as if my soul had been in search of Beauty and Kindness. If not — what for have I deserved this gift, this meeting… 　　I have arrived in the twilight. The noise of the wind and my tiredness didn't let me fall asleep. 　　I was lying on the floor, there was a small lamp at my head, the bedding had been thrown over the mat. 　　I don't know why, but I began to think about the war, and the scenes of unknown life appeared before me from the past… or, perhaps, from the future; Somebody’s children… somebody's mothers… 　　The summer was warm… 　　Then the morning came, windy, cold and sunny… I examined the house cautiously. It was empty… 　　Then, I remember, I turned back, having heard a creak. 　　It seemed she had not yet noticed me… I decided to come nearer. 　　I can remember well enough, how everything became interesting: walls, utensils, wind, light, sounds — all her life. 　　We agreed that she would let me stay near her all the time All the hours and minutes that I could spend in her old house. I sat near her with her permission. And it was really necessary: I could contem­plate her to my heart's content.” 　　Alexander Sokurov (from the author's text to the film) 　　A myth about lost harmony, which is always with us, though we often cannot feel it, is further developed in this film by Alexander Sokurov. The material used here is concrete and, at first sight, quite fit for TV. The whole work is unhurried and detailed report from an old solitary house, lost in the mountains, in the village of Aska, prefecture Nara, Japan, where an old woman, whose name is Umeno Matshueshi, lives alone. But filmmaker's creative task is quite opposed to the TV information stream. It is not only because this subject, this person couldn't be of any interest for any TV crew in any country (and least of all, perhaps, in modern Japan). 　　Sokurov's camera doesn't watch this character, doesn’t ask any questions, doesn’t surprise her, but extracts uninterrupted poetical image out of the trivial details of this physical reality, out of this extinct life and daily routine. The image is epic and lyrical at the same time. Refined simplicity of Japanese landscape, interior, a series of portraits are not a representation of “couleur local,” but only the sign of ideal technique of the ideal description, allowing to enter this life. The woman, who remains silent throughout the whole film, cooking and eating, kindling the fire and sewing, giving alms and combing her hair before us, recites in the final poem as a prayer: artless and sorrowful tanku about loneliness, about the constancy of losses and gainings. Sokurov shoots this unexpected stroke in his personage's portrait as a lyrical coda of his work.

1997, 75 min., colour, BETACAM SP, Stereo 　　The Japan Foundation, North Foundation, Pandora Co., Ltd (Japan) 　　Special thanks to Hiroko Kodjima 　　scenario: A. Sokurov 　　camera: A. Fedorov 　　sound: S. Moshkov 　　editor: L. Semenova 　　“My journey to your sorrowful country cannot finish… even here in Russia. 　　I can't part with feelings which have captured me… as if my soul had been in search of Beauty and Kindness. If not — what for have I deserved this gift, this meeting… 　　I have arrived in the twilight. The noise of the wind and my tiredness didn't let me fall asleep. 　　I was lying on the floor, there was a small lamp at my head, the bedding had been thrown over the mat. 　　I don't know why, but I began to think about the war, and the scenes of unknown life appeared before me from the past… or, perhaps, from the future; Somebody’s children… somebody's mothers… 　　The summer was warm… 　　Then the morning came, windy, cold and sunny… I examined the house cautiously. It was empty… 　　Then, I remember, I turned back, having heard a creak. 　　It seemed she had not yet noticed me… I decided to come nearer. 　　I can remember well enough, how everything became interesting: walls, utensils, wind, light, sounds — all her life. 　　We agreed that she would let me stay near her all the time All the hours and minutes that I could spend in her old house. I sat near her with her permission. And it was really necessary: I could contem­plate her to my heart's content.” 　　Alexander Sokurov (from the author's text to the film) 　　A myth about lost harmony, which is always with us, though we often cannot feel it, is further developed in this film by Alexander Sokurov. The material used here is concrete and, at first sight, quite fit for TV. The whole work is unhurried and detailed report from an old solitary house, lost in the mountains, in the village of Aska, prefecture Nara, Japan, where an old woman, whose name is Umeno Matshueshi, lives alone. But filmmaker's creative task is quite opposed to the TV information stream. It is not only because this subject, this person couldn't be of any interest for any TV crew in any country (and least of all, perhaps, in modern Japan). 　　Sokurov's camera doesn't watch this character, doesn’t ask any questions, doesn’t surprise her, but extracts uninterrupted poetical image out of the trivial details of this physical reality, out of this extinct life and daily routine. The image is epic and lyrical at the same time. Refined simplicity of Japanese landscape, interior, a series of portraits are not a representation of “couleur local,” but only the sign of ideal technique of the ideal description, allowing to enter this life. The woman, who remains silent throughout the whole film, cooking and eating, kindling the fire and sewing, giving alms and combing her hair before us, recites in the final poem as a prayer: artless and sorrowful tanku about loneliness, about the constancy of losses and gainings. Sokurov shoots this unexpected stroke in his personage's portrait as a lyrical coda of his work.

影片讲述的是一个发生在30年代的故事，那时爵士乐正风靡全美；吉普赛人德詹哥雷恩哈特是爵士乐坛的传奇人物，他当时被冠以“世界上最出色的爵士乐与吉它…

颜查散（冯海）和柳家小姐柳金蝉（江青）从小指腹为婚，但因柳父（王孙）嫌贫爱富，不愿承认婚事，只好在柳母的安排下，暂居柳家祠堂。柳金蝉的表哥冯君衡（金石）深通奇术，故意变成颜查散的模样与柳金蝉相见，没想到劫色不成反害柳金蝉失足丧命，颜查散也因此被关进大牢，屈打成招。包公（马骥）出巡至商邱县，柳金蝉的丫环小红（陈明莉）跪求伸冤。包公利用游仙枕亲往地府查案，多亏琉璃鬼（古军）仗义说出十殿判官（吴炳南）为包庇侄子冯君衡，私改生死簿，真相得以大白。谁知冯君衡却贿赂县衙知府，利用包公查案期间，趁机将颜查散押赴刑场执刑，幸好包公及时还阳，才及时阻止悲剧发生。冯君衡得知自己陷害颜查散不成，准备逃亡，却被伏魔大帝钟馗（祖勃林）制服，押解至公堂，判处狗头铡之刑。全案总算水落石出，颜查散获得释放，柳金蝉亦因阳寿未尽而还魂，两人最终如愿喜结连理。

颜查散（冯海）和柳家小姐柳金蝉（江青）从小指腹为婚，但因柳父（王孙）嫌贫爱富，不愿承认婚事，只好在柳母的安排下，暂居柳家祠堂。柳金蝉的表哥冯君衡（金石）深通奇术，故意变成颜查散的模样与柳金蝉相见，没想到劫色不成反害柳金蝉失足丧命，颜查散也因此被关进大牢，屈打成招。包公（马骥）出巡至商邱县，柳金蝉的丫环小红（陈明莉）跪求伸冤。包公利用游仙枕亲往地府查案，多亏琉璃鬼（古军）仗义说出十殿判官（吴炳南）为包庇侄子冯君衡，私改生死簿，真相得以大白。谁知冯君衡却贿赂县衙知府，利用包公查案期间，趁机将颜查散押赴刑场执刑，幸好包公及时还阳，才及时阻止悲剧发生。冯君衡得知自己陷害颜查散不成，准备逃亡，却被伏魔大帝钟馗（祖勃林）制服，押解至公堂，判处狗头铡之刑。全案总算水落石出，颜查散获得释放，柳金蝉亦因阳寿未尽而还魂，两人最终如愿喜结连理。

影片2012年获温哥华国际电影节龙虎奖，2013年入选鹿特丹国际电影节“光明未来”单元和纽约“新作品／新导演”影展，2013年获得第十届中国独立影像展剧情片竞赛单元最高奖。 　　There are surprises every year in China’s embattled indie sector, but few as unexpected as this one. Li Luo has take n three chapters o f the Ming Dynasty novel Journey to the West (aka Monkey) and adapted the story of the short-term death of Emperor Li Shimin to the modern China of officials, bureaucrats and gangsters. The Dragon King perverts the course of nature and is punished with execution; the emperor tried to step in to prevent it happening, but he didn’t allow for the power of dreams. Now Li is lying on his deathbed, beset by stray ghosts. Can he be saved? The storytelling explores several layers of "reality," but coalesces into an image of China’s perennial absurdity: a new-old world where peace always breeds wealth. Brilliant, straight-faced political satire. The "ungrammatical" title, by the way, references a Chinese movie of 1927.

影片2012年获温哥华国际电影节龙虎奖，2013年入选鹿特丹国际电影节“光明未来”单元和纽约“新作品／新导演”影展，2013年获得第十届中国独立影像展剧情片竞赛单元最高奖。 　　There are surprises every year in China’s embattled indie sector, but few as unexpected as this one. Li Luo has take n three chapters o f the Ming Dynasty novel Journey to the West (aka Monkey) and adapted the story of the short-term death of Emperor Li Shimin to the modern China of officials, bureaucrats and gangsters. The Dragon King perverts the course of nature and is punished with execution; the emperor tried to step in to prevent it happening, but he didn’t allow for the power of dreams. Now Li is lying on his deathbed, beset by stray ghosts. Can he be saved? The storytelling explores several layers of "reality," but coalesces into an image of China’s perennial absurdity: a new-old world where peace always breeds wealth. Brilliant, straight-faced political satire. The "ungrammatical" title, by the way, references a Chinese movie of 1927.

地府女帝云青妩意外借尸还魂，重生为被渣爹和毒妹害死的尚书府嫡女云清雾身上。为了复仇，她不仅要手撕恶毒继母与庶妹，还要查清原主被害真相。与此同时，她与名义上的夫君 —— 表面病弱、实则腹黑强大的厌王萧沉砚重逢。萧沉砚本是为复仇蛰伏，却发现这位 “新王妃” 不仅性情大变、手段狠辣，还能帮他化解危机。两人从最初的相互试探，逐渐变为心照不宣的 “强强联手”。