Simon和Babeth看似是一对幸福的夫妇，但她对性并不是很感兴趣，而他则相反。他与他的秘书、楼下年长的邻居、朋友Victoria以及其他情妇约会。但Babeth开始怀疑并跟着Simon去了一家旅馆，在那里Simon预订了一个房间与他的一位情妇约会。Babeth订了相邻的房间并设法监视他们，这让她兴奋起来，Babeth在她的朋友Victoria的帮助下说服她该做一些改变了，首先他带她去布洛涅森林观看发生的事情，然后他们参加了由France Lomay经营的俱乐部échangiste，并参加了几次狂欢，最后自己举行了一次。

Simon和Babeth看似是一对幸福的夫妇，但她对性并不是很感兴趣，而他则相反。他与他的秘书、楼下年长的邻居、朋友Victoria以及其他情妇约会。但Babeth开始怀疑并跟着Simon去了一家旅馆，在那里Simon预订了一个房间与他的一位情妇约会。Babeth订了相邻的房间并设法监视他们，这让她兴奋起来，Babeth在她的朋友Victoria的帮助下说服她该做一些改变了，首先他带她去布洛涅森林观看发生的事情，然后他们参加了由France Lomay经营的俱乐部échangiste，并参加了几次狂欢，最后自己举行了一次。

讲述了四位挚友在追逐梦想的过程中不得不面对现实的冲击的故事。

讲述了四位挚友在追逐梦想的过程中不得不面对现实的冲击的故事。

In this four and a half hour documentary or filmic tavelogue, Ulrike Ottinger tries to impart new ways of seeing a foreign culture. "In my previous films I have dealt with the themes of exoticism, minorities and their differing role behaviour within their own culture. Now I am interested in expanding this theme, in getting to know a 'real exoticism' in a foreign land and in a different culture. I am attempting to conduct a visual discourse with my camera about exoticism as a question of point-of-view. 　　In making the film, I was influenced by Chinese naturepainting: by the use of the scroll, which not only demands a different method of painting, but a different way of viewing - rolling out the scroll, focusing in on details, wandering to and fro, viewing piecemeal. So if I was filming a market square, for example, I'd pan very slowly and steadily across the square, rather than trying to capture the image in toto. 　　– Ulrike Ottinger

In this four and a half hour documentary or filmic tavelogue, Ulrike Ottinger tries to impart new ways of seeing a foreign culture. "In my previous films I have dealt with the themes of exoticism, minorities and their differing role behaviour within their own culture. Now I am interested in expanding this theme, in getting to know a 'real exoticism' in a foreign land and in a different culture. I am attempting to conduct a visual discourse with my camera about exoticism as a question of point-of-view. 　　In making the film, I was influenced by Chinese naturepainting: by the use of the scroll, which not only demands a different method of painting, but a different way of viewing - rolling out the scroll, focusing in on details, wandering to and fro, viewing piecemeal. So if I was filming a market square, for example, I'd pan very slowly and steadily across the square, rather than trying to capture the image in toto. 　　– Ulrike Ottinger

SYNOPSIS 　　Hye-jung tries to keep her family together despite the alienation she feels from her disinterested husband. But the real trouble begins when her husband has an affair betraying the shared history of working together to gain financial success. When Hye-jung witnesses her husband in the act, she runs out on him in a rage. The psychological and physical pain becomes unbearable for her. She decides to get back at her husband in the same way he hurt her. She enters a hotel with a strange man in front of her husband and thus tries to make up for lost time in the arms of strange man. But her actions lead to an irrevocable outcome. Her husband, although regretful of his actions, becomes enraged at Hye-jung. This middle-aged woman now has no choice but to reap the seeds she has sowed, estranged from the only man she ever loved. 　　故事 　　冷漠已经成为一种习惯，甚至她的丈夫爱妻子，海·晶试图避免破坏家庭的幸福。年轻夫妇在与这些成功的经济苦难的冲突，因为这一天是从丈夫的外遇派生将见证与另一个女人的关系。海·晶无法认出她丈夫的婚外情终于回家。冲突的重复aesseumyeo通过与以同样的方式，一个陌生男子hyeontae海·晶谁在他们的孤独失落，随着时间的推移来，除了情感和生理影响的关系找到了丢失的生活，终于，我的丈夫有政府和爱情戏，罢工斗争将得到补偿。最终演成是无法恢复的情况下，和她的丈夫，海·晶到酒店取一个陌生人，在过去的前终于看到了她的丈夫。在那里，他的妻子不承认的重要性丈夫疯狂，悲观，但他们的困境已经放弃了任何关系被打破。但海·晶是谁爱他是唯一的一个男人。此外，自我意识的事实，她的丈夫会被出卖，背叛不是她的丈夫在一定意义上的女人。我的丈夫也只有离开公寓深深感到政府的妻子的重要性... ... 。

SYNOPSIS 　　Hye-jung tries to keep her family together despite the alienation she feels from her disinterested husband. But the real trouble begins when her husband has an affair betraying the shared history of working together to gain financial success. When Hye-jung witnesses her husband in the act, she runs out on him in a rage. The psychological and physical pain becomes unbearable for her. She decides to get back at her husband in the same way he hurt her. She enters a hotel with a strange man in front of her husband and thus tries to make up for lost time in the arms of strange man. But her actions lead to an irrevocable outcome. Her husband, although regretful of his actions, becomes enraged at Hye-jung. This middle-aged woman now has no choice but to reap the seeds she has sowed, estranged from the only man she ever loved. 　　故事 　　冷漠已经成为一种习惯，甚至她的丈夫爱妻子，海·晶试图避免破坏家庭的幸福。年轻夫妇在与这些成功的经济苦难的冲突，因为这一天是从丈夫的外遇派生将见证与另一个女人的关系。海·晶无法认出她丈夫的婚外情终于回家。冲突的重复aesseumyeo通过与以同样的方式，一个陌生男子hyeontae海·晶谁在他们的孤独失落，随着时间的推移来，除了情感和生理影响的关系找到了丢失的生活，终于，我的丈夫有政府和爱情戏，罢工斗争将得到补偿。最终演成是无法恢复的情况下，和她的丈夫，海·晶到酒店取一个陌生人，在过去的前终于看到了她的丈夫。在那里，他的妻子不承认的重要性丈夫疯狂，悲观，但他们的困境已经放弃了任何关系被打破。但海·晶是谁爱他是唯一的一个男人。此外，自我意识的事实，她的丈夫会被出卖，背叛不是她的丈夫在一定意义上的女人。我的丈夫也只有离开公寓深深感到政府的妻子的重要性... ... 。

一个以色列中产阶级家庭因过逾越节而重聚。 　　剧中的每个家庭成员在这次混乱的自助餐盛宴中找到了自我，因为大家都想试图应付自己数不清的麻烦。尤娜和迈克尔是欢宴的主人，可这次却比往常的聚会更糟糕，因为他们的一个儿子刚在一起军事事故中牺牲，死者的双胞胎兄弟纳撒尼尔同他的新女友出现时，搅起了一阵波澜，他的前妻吉拉却淡然处之，反而与这个新女友熟络起来。多罗娜是家中的长女，最近倍受过敏的折磨，由此导致她与丈夫瑞奇的温存被扼杀。另一个儿子夏很沮丧，因他的妻子达莉亚得了病态的肥胖症。同时纳撒尼尔调皮的儿子和吉拉制造了一系列的恶作剧…… 　　【“逾越节”是犹太教传统节日，源自《圣经•出埃及记》。传说，犹太人在古埃及生活时期，遭到法老的残酷迫害。上帝命令摩西把犹太人带出埃及，但法老不准犹太人离开埃及。为此，上帝决定予以惩罚，杀死埃及家庭的所有长子和头生牲畜。为避免误伤犹太人，上帝吩咐摩西通知所有的犹太人，在自家门框上涂上羊血，上帝见到羊血时便“逾越而过”。法老迫于上帝的威力，只好同意犹太人离开埃及。为了感谢上帝的恩德，犹太人把每年犹太年历尼散月14日起的七天定为“逾越节”，以示纪念。】

本系列节目要探索人类与大河系统的多变关系，指出生活在大河流域的数百万人，文化与生活如何受到这些河川影响。节目中将介绍全球最著名的六大河流：亚马孙河、尼罗河、密西西比河、恒河、长江与莱因河，寻找这些大河的源头、历史与变化。除了描述岸边居民的故事，认识与大河和谐共存的原住民、现代贸易商、艺术家与工匠，还将了解各大都会如何透过21世纪尖端科技，防止这些古老大河造成的水患。