In an episode that occurs halfway through Tarrafal, Cape Verdean immigrant José Alberto, having just received his expulsion notice, encounters the elderly, displaced Fonthainas resident Ventura waiting on the side of a dirt road as his friend, Alfredo tries in vain to catch rabbits by thrashing random bushes with a wooden club. In a way, the idea of silent, enduring landscapes as figurative intersections for other unfolding - and often converging - human stories (a recurring theme in José Luis Guerín's cinema as well) may be seen as a metaphor for Pedro Costa's densely layered themes of dislocation and statelessness. As subsequently revealed in The Rabbit Hunters, Alfredo, too, is homeless, resorting to a life in the streets after having been thrown out of the apartment by his wife. In Tarrafal, this converging image of forced - and implicitly traumatic - displacement and exile is established in the opening images of José Alberto's ironic inquiries to his mother over the derelict conditions of their ancestral houses in Cape Verde from his own ramshackle home in the slums. As the conversation morphs from the neglect and inhabitability of their beloved, deserted homes that recalls the reclamation of abandoned ghost houses in In Vanda's Room, to the strange tales of a blood-sucking phantasm who foretells a person's hour of death by surreptitiously leaving letters in the most mundane of hiding places to be subsequently retrieved at the time of their immutable appointment - an impersonal, life-altering communication that alludes to the state's arbitrary dispensation of deportation and eviction notices in modern day Portugal - Costa illustrates a sense of anonymous interchangeability among the transitory, drifting souls of Tarrafal. Visually, this sense of surrogacy and transplantation is reflected in the repeating angular doorway view of José Alberto's house: first, in the solitary image of José Alberto facing away from the camera as he sits on a wooden plank to smoke, then subsequently, in a reframed shot of Ventura and Alfredo seated on the same plank looking out into the neighboring town, commenting on the profound transformation of the once desolate landscape (note Alfredo's humorous misidentification of stray cats as rabbits that further reinforces their seeming interchangeability). Moreover, intrinsic in José Alberto's sad tale of requesting a work release to single-handedly bury his estranged father, and the rabbit hunters' conversation over their mistreatment and death at the hands of authorities is the specter of Tarrafal's unreconciled history as a prison camp where inmates were tortured and relegated to die a slow death. Composed as skewed, frame within frame stationary shots that evoke the acute angles and distanced address of Straub/Huillet, these parallel testimonies of dislocation, separation, entrapment, and fatedness unfold through supplanted images of interchangeable, moribund, drifting ghosts that integrally reflect their own erasure and social invisibility.

Uptight fashion model Tara has trouble dealing with the amorous advances of sleazy photographer Hal. The situation is compounded in severity after Tara discovers that her father Fred has become involved with the much younger Angie.

《法尔比克》（Farrebique ou les quatre saisons，乔治·鲁吉埃，1946年|92分钟|35毫米|黑白|有声）以搬演的手法记录了法国南部普罗旺斯地区一户农民的生活。在一个叫固特兰的村子里，法勒比克一家筹划着如何过冬。他们讨论是否修缮年久失修的祖屋，年迈的父亲固执己见，坚持不要破坏祖屋的完整性。从这个简单而富有戏剧性的家庭争论开始，通过四季的更迭，影片展现了法国一户普通农民的日常生活（本片的完整片名为“法尔比克或四季”）。本片导演乔治·鲁吉埃（Georges Rouquier，1909—1989）生于本片所描绘的法国南部，在这部向故乡致敬的影片里，他通过非职业演员的表演重现了法国南部乡村生活，呈现给观众的真实并非严格意义上的纪录电影的真实，而是更加内在富有诗意的真实。本片可以说是法国版的《北方的纳努克》，鲁吉埃拍摄本片时曾经受到美国纪录片大师罗伯特·弗拉哈迪的启发。本片荣获1946 年戛纳电影节评委会大奖和法国电影大奖。38年后，鲁吉埃重游故地重访故人，拍摄了本片的续集《比克法尔》（Biquefarre，即将原片名的两个音节颠倒过来，本片又名《38年后》，荣获1983年威尼斯电影节评委会大奖）。此外，鲁吉埃还当过演员，在科斯塔—加夫拉斯导演的影片《Z》中扮演总检察官。

夜幕降临，一架四引擎飞机在机场着陆，走下飞机的是唯一的乘客乔•法尔什——作为法尔什犹太家族最后的幸存者，自从他1938年离开柏林，至今已有四十个年头。在机场到达大厅里等待着乔的，是包括父母、姐妹、兄弟等在集中营丧命的死去的家族以及乔之前所深爱、最终在柏林的轰炸中丧命的纳粹分子的女儿莉莉。一场跨越生死世界的庆典与邂逅就此展开。本片是比利时著名导演组合达内兄弟的剧情片处女作。（小易甫字幕组）

Falcón is a brilliant detective whose personal and professional life is compromised by dark secrets from the past.

宇宙的某个角落，有一颗叫塔拉的星球。那里风光格外美丽，那里没有战争，没有大规模杀伤性武器，那里的居民成天载歌载舞，宽容、和平而友善，没有任何忧虑。即便是再和谐的地方，也往往会出现一两个不合节奏的小插曲--早熟少女玛拉（伊万·蕾切尔·伍德），就是泰拉星上的"异类"。小玛拉虽然年纪不大，性格却和大部分不求甚解的泰拉星人迥异。她天资聪颖、主见过人，热衷科技和新发明，还最喜欢打破沙锅问到底，就塔拉星人敬若神明的众神，玛拉也总疑问多多。好奇宝宝的叛逆，不但让老爸（丹尼斯·奎德）吃不消，就连族中的老人们也很是头疼。 　　突然某天，塔拉星的天空之上，出现了未知的阴影。难道，真是小孩子不懂事，若怒了神灵？又或者，这些样子看起来像宇宙飞船的物事，乃新莅临星球的使者坐骑？塔拉星人还在揣揣不安之时，呼啸而来的炮弹迅速击碎了他们的天真。将长枪短炮对准泰拉星的，竟然是意欲霸占他们美丽家园的外星侵略者！面对突如其来的侵略，从未经历过激战的泰拉星人，第一次手足无措。而心狠手辣的外星侵略者，不但大举进攻，还公然进行绑架，玛拉的爸爸也成了被绑走的受害者。 为了弄清状况、找到爸爸，大胆的玛拉冒险救回了坠地受伤的外星飞行员吉姆（卢克·威尔森）。从吉姆口中，她方才得知，原来这些烧杀抢虐的侵略者，正是来自地球的人类。因为无休止的战争和过度开采资源，地球以及人类后继的临时居所全都被摧残得奄奄一息，倘若再不能找到适宜居住的地方，幸存的少数者将很可能面临灭绝的危机，美丽的塔拉星，正是他们最后的希望。问题只有一个：这个星球上充满了供塔拉星人呼吸的氦气，而要将其改变成适合人类居住，必然需要使其完全氧化，而新环境对于塔拉星球的居民无意是致命一击。生死一线间，玛拉和吉姆能不能共同解决泰拉的危机？地球人类和塔拉居民又真的可以和平共处吗？

如果去黑山共和国的塔拉峡谷探险的话，你需要足够的勇气和一张结实的木筏。菲克雷特邀请我们到他的木筏上，给我们讲述他的故事。这是一条位于巴尔干的汹涌河流，在这种塔拉湍急的水流中，操控木筏并不是件容易的事。菲克雷特是一名木筏摆渡者，也是木筏上的船长，这种危险的职业在欧洲几乎已经消失了，他和他的家人还坚守着这项传统工作。木材是这个地区的主要收入来源，用树干拼装成一支木筏在这里被称为“漂浮的木头”。从十二岁起就开始摆渡木筏的菲克雷特，已经将塔拉河看作是他生命中的一部分，一切从这里开始，一切也会在这里结束。

这是一部非常风格化的作品，主角是一名年轻的威尔士骑士，他来到一处神秘的古堡，在那里他见到了圣杯的幻像，但他自己却没有意识到；次日清晨，古堡人去楼空，骑士继续出行，当他猛然醒悟到自己看到了圣杯再回去时，古堡已经消失，于是他只能继续他的圣杯寻访之旅。影片完全在摄影棚内拍摄，布景故意做得很“假”，而且台词和动作多有重复，颇有一点曲艺的效果。

Plot Summary for 　　Parsifal (1982) 　　Richard Wagner's last opera has remained controversial since its first performance for its unique, and, for some, unsavory blending of religious and erotic themes and imagery. Based on one of the medieval epic romances of King Arthur and the search for the holy grail (the chalice touched by the lips of Christ at the last supper), it recounts over three long acts how a "wild child" unwittingly invades the sacred precincts of the grail, fulfilling a prophecy that only such a one can save the grail's protectors from a curse fallen upon them. Interpreters of the work have found everything from mystical revelation to proto-fascist propaganda in it. Hans-Jurgen Syberberg's production doesn't avoid either aspect, but tries synthesize them by seeking their roots in the divided soul of Wagner himself. The action unfolds on a craggy landscape which turns out to be a gigantic enlargement of the composer's death mask, among deliberately tatty theatrical devices: puppets, scale models, magic-lantern projections. The eponymous hero is sung by the specified tenor voice (Reiner Goldberg) but mimed on screen by a male and a female performer alternately, reflecting what the director takes to be the creator's own sexual conflicts. Syberberg's pacing, dictated by the majestic pace of Wagner's score, is slow, but enlivened by constant subtle shifts in point of view, and memorable performances by actress Edith Clever as the villainess/heroine Kundry (sung by Yvonne Minton), orchestra conductor Armin Jordan as the remorseful knight Amfortas (sung by Wolfgang Schoene), and Robert Lloyd (the faithful retainer Gurnemanz). 　　Summary written by Roger Downey