律师亚力克斯是一个工作狂，在她的丈夫突然离开之后，她被迫去改造自己的生活。如今面对乏味的总是弥漫着各种糟糕状况的生活，亚力克斯试图挽回自己破碎的家庭的同时，更重新认识了自身的弱点和潜能。

在小神龙俱乐部中，插在两个动画之间或在快结束的时候播出的动画短片，时间大约不到5分钟。每集一个故事。讲的是一只温情可爱的小老鼠的故事。

Ostensibly an informal guided commentary through personal photographs taken by Alix Cléo Roubaud for a young interviewer (Boris Eustache), Jean Eustache's Les Photos d'Alix ingeniously explores the nature of reality and perspective within the framework of documentary filmmaking. This sense of trompe l'oeil is prefigured in an early double exposed photograph of Alix's husband, novelist Jacques Roubaud taken from a London hotel room, explaining that the duality had been intentionally developed in order to simulate an elongated profile that more appropriately conforms to the traditional notion of a Hollywood style bed, a manipulation of image that is also illustrated in a subsequent photograph of an induced sunset created by selective masking. Eustache's approach to the film similarly expounds on Alix's photographic experimentation, juxtaposing the curious image of a smiling, shirtless man seemingly disembodied below the rib cage against Alix's comical, if askew anecdote on plying a friend with alcoholic beverages in order to look more relaxed as she takes his picture on a couch. In another humorous episode, Alix conveys the fond memories her father through what she describes as the most iconic image of him from her childhood, revealing a shot of a driver's ear and receded hairline taken from the back of a car, his face partially visible only through the reflection of the rearview mirror. Soon, the conversation grows even more puzzling, as the young man apparently fails to recognize himself in a photograph, Alix incongruously points out the admirable physicality of an unknown man who was accidentally captured on film, as a naked, overweight man stands on the side of the frame, and her revelry on the coincidence of having two former romantic interests converging in the same shot is seemingly reduced to the banal image of a pair of worn boots. As Alix's insights into her sources of inspiration and creative process become increasingly dissociated from the images, Eustache illustrates the point of rupture between the visual and aural, where filmed storytelling lies, not in the symmetry of information, but in its chance intersections and disjunctions. 　　---- from strictly film school

Ostensibly an informal guided commentary through personal photographs taken by Alix Cléo Roubaud for a young interviewer (Boris Eustache), Jean Eustache's Les Photos d'Alix ingeniously explores the nature of reality and perspective within the framework of documentary filmmaking. This sense of trompe l'oeil is prefigured in an early double exposed photograph of Alix's husband, novelist Jacques Roubaud taken from a London hotel room, explaining that the duality had been intentionally developed in order to simulate an elongated profile that more appropriately conforms to the traditional notion of a Hollywood style bed, a manipulation of image that is also illustrated in a subsequent photograph of an induced sunset created by selective masking. Eustache's approach to the film similarly expounds on Alix's photographic experimentation, juxtaposing the curious image of a smiling, shirtless man seemingly disembodied below the rib cage against Alix's comical, if askew anecdote on plying a friend with alcoholic beverages in order to look more relaxed as she takes his picture on a couch. In another humorous episode, Alix conveys the fond memories her father through what she describes as the most iconic image of him from her childhood, revealing a shot of a driver's ear and receded hairline taken from the back of a car, his face partially visible only through the reflection of the rearview mirror. Soon, the conversation grows even more puzzling, as the young man apparently fails to recognize himself in a photograph, Alix incongruously points out the admirable physicality of an unknown man who was accidentally captured on film, as a naked, overweight man stands on the side of the frame, and her revelry on the coincidence of having two former romantic interests converging in the same shot is seemingly reduced to the banal image of a pair of worn boots. As Alix's insights into her sources of inspiration and creative process become increasingly dissociated from the images, Eustache illustrates the point of rupture between the visual and aural, where filmed storytelling lies, not in the symmetry of information, but in its chance intersections and disjunctions. 　　---- from strictly film school

《谁杀死了阿历克斯队长》是一部来自乌干达贫民窟的动作喜剧电影。 影片中的老虎黑手党用铁腕统治着乌干达，在各种混乱爆发期间，突击队队长阿历克斯被神秘谋杀。作为首部乌干达动作电影，本片以不到200美元的预算，在视频网络一经上线便创造了将近350万的点击量。低廉的预算让影片拥有了一种奇特的观感，导演用有限的资源创造了一个专属于乌干达的独创风格，让人在捧腹大笑中深思电影制作的奥义。

一对情侣在威尼斯的河边被发现死亡。男死者被捅死，而女死者则溺死。警察对于凶手为什么会将女死者从河里捞出放在岸边感到困惑。这是一个奇怪的行为，因为通常凶手并不会关心死者的安置。警察开始对情侣的社会关系展开调查，并发现有一位与他们关系密切的女士。这可能意味着这位女士与死者之间存在某种复杂的关系，可能是爱情、争执或其他动机。 　　进一步的调查揭示了男死者的瘾君子和性变态的身份。这些信息可能与案件有关，可能有人针对他的不良行为给予了报复，或者他的行为导致了与其他人的冲突。然而，案件调查还未完全解决时，一名妓女被发现被剪刀杀害。这一事件给案件增加了更多复杂性。

威尼斯是观光重点，终年游人如织，不过只要稍微离开市区，威尼斯仍然保有充满野性的一面。威尼斯东边的泻湖是很多野生动物的栖息地 ，水中有海棉、海葵、鱿鱼和剃刀鱼，而泻湖周围可以发现超过60种鸟类的踪迹，河中蕴含众多生物。在威尼斯的小巷中，很多大宅的后花园是也充满了生命力，这 里是貂与爬虫类的秘密天堂，小型猛禽隼在废弃的修道院中筑巢，在附近猎食，“野性威尼斯”将让我们发现观光客看不到了另一面。