1975至1976年的电视连续剧《艾勒里·昆恩》由曾负责《神探可伦坡》的William Link 和Richard Levinson 负责编写，并模仿昆恩的早期风格。昆恩由吉姆·赫顿出演，并由大卫·韦恩饰演其父，上演1940年代纽约的探案故事。Tom Reese演出昆恩巡官的助手，是系列电视系列剧的固定班底（这个角色曾经在小说、广播与电视节目中出现，但在此电视系列剧出现前未被安排成主要的配角）。电视系列剧的最后，总是会有“向读者挑战”的宣言,大侦探昆恩走进事件现场，并邀请观众亲自去破解谜团。许多媒体都认为这个系列的作品是艾勒里昆恩为电视节目带来的最佳产物。2位编剧后来更是因《神探可伦坡和艾勒里昆恩电视剧》（Columbo and Ellery Queen TV series）的贡献获得1979年爱伦坡特别奖。

艾露伊斯（苏菲亚·威希涅瓦 Sofia Vassilieva 饰）是一个六岁、拥有丰富想象力的小女孩，与她的奶妈一起住在纽约大饭店。她喜欢观察饭店里来来往往的人们，以此娱乐自己。随着圣诞节的临近，艾露伊斯准备了一长串要购买的礼品清单。她和饭店服务生比尔（加文·克瑞尔 Gavin Creel 饰）的关系非常好，她最喜欢和比尔一起演戏、唱歌。 　　饭店老板的女儿瑞秋（Sara Topham 饰）决定在圣诞夜与未婚夫布鲁克斯完婚。然而，艾露伊斯发现了一个令人吃惊的秘密：瑞秋和比尔从小是青梅竹马，却因为身份问题而被拆散，瑞秋被送到国外读书。更让艾露伊斯感到不安的是，她发现布鲁克斯是为了金钱而娶瑞秋。面对这一切，勇敢而机智的艾露伊斯下定决心要帮助瑞秋和比尔重新走到一起。尽管圣诞夜即将来临，艾露伊斯仍然有一堆事情等着她去完成，包括采购圣诞礼物和装饰圣诞树。她充满活力和聪明才智，努力让真爱有一个完美的结局，为大家带来欢乐的圣诞节。

Gabrielle is writing an illustrated guide book on sex called 'How To Do It.' At a book signing she meets Saul, an established male writer who is straight. She both loves and hates his work which has seeped into her secular Jewish life from childhood. The more Gabrielle tells him about her book the more he wants to know about her life; the relationship with her younger girlfriend Olivia and her determination to "stop using my penis in sex". As her book takes form, is Saul jealous or desirous? Their friendship is tested as is Gabrielle's relationship with Olivia. The film muses on how we write, how we draw. And the nature of "story" and what it makes us do.

STEVE MCQUEEN: THE MAN and LE MANS is the story of obsession, betrayal and ultimate vindication. It is the story of how one of the most volatile, charismatic stars of his generation, who seemingly lost so much he held dear in the pursuit of his dream, nevertheless followed it to the end.

Michel Piccoli stars as an amorous dentist whose philandering seemingly knows no bounds. He is no sooner shooing such lovelies as Anna Karina and Elsa Martinelli out the back door than he is welcoming such "new blood" as Joanna Shimkus into his living room. When Shimkus demands a commitment, Piccoli runs home movies of his past girlfriends, insisting all the while that he has forgotten them and that Joanna is the only woman in his life. The very next day he's running his movies for still another woman, and the song continues. De L'Amour is based on an 1822 novel by Stendhal (who would have been visionary indeed if he'd included all those home movies!)

A famous docking: Algiers, the White City, in a radiant light. The picture darkens with a voice-over reading of the text of the surrender of the Dey of Algiers in 1830. About the Conquest confronts us with a page of the French national novel that was too hastily turned. Franssou Prenant audaciously gathers a community of complicit voices who read a succession of archives (reports, testimonies, memoirs, historical, geographical, and urbanistic considerations) in a matter-of- fact tone. Recounting the stages of France’s colonisation of Algeria between 1830 and 1848, they outline the ideological landscape of a staggering annihilation effort. The film could just as well have been entitled About Destruction. Franssou Prenant thus constructs a memorial with a technique common to History and cinema: montage. A montage of texts: the words of Victor Hugo, Ernest Renan, Tocqueville are interwoven with those of military men, senior officials, brigadiers, without any way of distinguishing the authors. Then, a montage of images through which yesterday’s acts of violence and dispossession echo in the present: in contrast to an account of murders, the film presents a desolate desert landscape or the frank and innocent smiles of teenagers. The promises of riches offered by colonized Algeria are accompanied by shots of an opulent, Haussmann-style Parisian city centre. We are plunged into a reflection on the nature of this extraordinary violence, through a pictorial meandering into contemporary Algeria, entwined with archival extracts heard in an interplay of convergence and divergence. The piling up of texts brings to light both the ethnocentric and racist imaginary and the cold logic of economic exploitation that dictated the colonization of Algeria and its irreversible consequences, from which Algerian society still suffers today. 　　源自：https://fidmarseille.org/en/film/de-la-conquete-about-the-conquest/

从心灵哲学的角度看，“平行论”是一种身心相互作用的二元论，它认为精神事件与物质事件发生在平行的存在过程中，两者以特定的方式相互作用着，当然这并不意味着其中一个可以诱导另一个去做和它同样的事。电影用同样的方式展示了两个世界，两座城市。它们看似独立存在，但实际上它们通过走廊、时空隧道和跨维度桥梁相互交流着。这两个相反的世界，乌托邦和反乌托邦，终将在一个“混血”的世界中统一。那不是两个世界单纯的加总，而是两个世界的某种融合。在那里，由两个相反世界融合诞生的新世界就有了一个新的身份。在意大利语中，“meccio”(混血)源于晚期拉丁语mixtīcius，意思是“混合”，由此很可能衍生出了法语里的成语métis，意为我们每个人融合多重身份，多重个性于一身的能力。影片的主人公是一个的“聚合”，是一个眼睛上长有拉链，脸颊上生长着玫瑰花瓣的女人，她看上去就像花。影片由她介绍给大家，也由她落幕，好像她的存在引导着和谐的融合之路——那也是一个“混血”的存在——似乎她的故事就是通往希望与满足世界的必经之路，这个过程充满可能性，起始的两条平行道路即象征了一种获得新融合身份、兼容发展和成就独特的可能性。

想要守护历史的年轻史官和为了成为国王而想要抹去历史的王世孙为了彼此的信念而斗争的故事。