Luca (Marcello Mastroianni) is a man who runs a mill and he is married to Carmela (Sophia Loren), a beautiful wife, set in Naples in 1860. But his wife's beauty catches the eye of Don Teofilo the Governor (Vittorio De Sica), who sets about to have Carmela. He has Luca arrested on trumped up charges, and then tries seduce Carmella. She resists, so he tells her he can free Luca, but there are strings attached.

Luca (Marcello Mastroianni) is a man who runs a mill and he is married to Carmela (Sophia Loren), a beautiful wife, set in Naples in 1860. But his wife's beauty catches the eye of Don Teofilo the Governor (Vittorio De Sica), who sets about to have Carmela. He has Luca arrested on trumped up charges, and then tries seduce Carmella. She resists, so he tells her he can free Luca, but there are strings attached.

In front of a flour mill, two men fight. One is the miller, and he's swinging a bag of flour in the scuffle. The other is a chimney sweep, and he's swinging what may be a bag of flour, but when it breaks open, it's clearly something else. Well into the havoc, spectators gather and give chase to the flour-covered sweep and the "well-sooted" miller. 　　A miller, while flirting with a young lady, suddenly bumps into a chimney sweep carrying a bag of soot. After an exchange of words, they start to fight and each uses his bag of cloth as a club. After the battle is over neither can be recognized. The air is so filled with flour and soot that the fighters are almost lost sight of for a few seconds. Very laughable. Written by Edison Catalog

In front of a flour mill, two men fight. One is the miller, and he's swinging a bag of flour in the scuffle. The other is a chimney sweep, and he's swinging what may be a bag of flour, but when it breaks open, it's clearly something else. Well into the havoc, spectators gather and give chase to the flour-covered sweep and the "well-sooted" miller. 　　A miller, while flirting with a young lady, suddenly bumps into a chimney sweep carrying a bag of soot. After an exchange of words, they start to fight and each uses his bag of cloth as a club. After the battle is over neither can be recognized. The air is so filled with flour and soot that the fighters are almost lost sight of for a few seconds. Very laughable. Written by Edison Catalog

加藤治代回到故乡照顾患病的母亲，她相信母亲一定会痊愈。在母亲生病的三年时间里，百无聊赖的治代用摄像机把努力活着的母亲、年事已高的祖母和自己的日常生活记录了下来。摄像机中母亲坚强的身影和灿烂的笑容，让人无法想象她正在和病魔抗争。 　　但是，癌症真真切切地侵蚀着母亲的身体。当母亲痛苦难耐时，治代就把摄像机暂搁一旁，无微不至地服侍母亲。摄像机所展现的就是这种自然的日常生活。终于，她们迎来了最后的诀别…… 　　残留的影像记录着一家人共同渡过的幸福时光，身为女儿的治代回顾逝去的时光，用心情在影像中编织出了一家人之间的羁绊。 　　导演介绍： 　　加藤治代（Haruyo Kato），生于1966年，现居群马县太田市。从多摩美术大学美术学院艺术系毕业后，担任静物摄影助理工作。加入黑帐篷剧团两年后因母亲罹病返乡。之后，完成了《乳酪与蛆虫》这部作品。2005年获山形国际纪录片电影节小川绅介奖和国际评委会奖两项大奖。2005年获法国南特三大洲国际电影节纪录片金球奖。 　　——以上转引自“2008REAL日本纪录片影像交流会”宣传手册。

加藤治代回到故乡照顾患病的母亲，她相信母亲一定会痊愈。在母亲生病的三年时间里，百无聊赖的治代用摄像机把努力活着的母亲、年事已高的祖母和自己的日常生活记录了下来。摄像机中母亲坚强的身影和灿烂的笑容，让人无法想象她正在和病魔抗争。 　　但是，癌症真真切切地侵蚀着母亲的身体。当母亲痛苦难耐时，治代就把摄像机暂搁一旁，无微不至地服侍母亲。摄像机所展现的就是这种自然的日常生活。终于，她们迎来了最后的诀别…… 　　残留的影像记录着一家人共同渡过的幸福时光，身为女儿的治代回顾逝去的时光，用心情在影像中编织出了一家人之间的羁绊。 　　导演介绍： 　　加藤治代（Haruyo Kato），生于1966年，现居群马县太田市。从多摩美术大学美术学院艺术系毕业后，担任静物摄影助理工作。加入黑帐篷剧团两年后因母亲罹病返乡。之后，完成了《乳酪与蛆虫》这部作品。2005年获山形国际纪录片电影节小川绅介奖和国际评委会奖两项大奖。2005年获法国南特三大洲国际电影节纪录片金球奖。 　　——以上转引自“2008REAL日本纪录片影像交流会”宣传手册。

小杏（广末凉子 饰）自由便失去了父亲的关爱，和母亲一起过着相依为命的生活。幸运的是，小杏的母亲是一位十分坚强的女性，身为女性杂志编辑的她，从小就给小杏灌输着要自强自立的观念。 　　在母亲的影响下，小杏加入了学校的广播社团，并且制作了自己的节目“樱木新闻”。每天午饭时间，校园上空都会响起小杏亲切的声音，播报着学校周边发生的大大小小的事件。一场意外让小杏想起了一位名叫阿彻（圆岛努 饰）的少年，曾经，两人许下约定要一起拍一部电影。在老师的鼓励下，小杏决定兑现这一约定，她找到了曾经拍摄过的录音带，想要通过剪辑和拼接来完成她人生中的第一支纪录片。

Commissioned by the heads of the 2000 Cannes Film Festival to make an opening-night short commemorating cinema as it enters its second full century, Godard instead offers up a 17-minute barrage of re-edited footage of wars and Nazi atrocities, interspersed with clips of Maurice Chevalier in "Gigi" and Godard's own "À bout de souffle."

Commissioned by the heads of the 2000 Cannes Film Festival to make an opening-night short commemorating cinema as it enters its second full century, Godard instead offers up a 17-minute barrage of re-edited footage of wars and Nazi atrocities, interspersed with clips of Maurice Chevalier in "Gigi" and Godard's own "À bout de souffle."