To this day it is considered the primordial cell of modern architecture and design - the Bauhaus. But "Bauhaus" doesn't just mean the cubic white house with flat roof, the steel pipe chair, or the Bauhaus lamp. The Bauhaus was also an educational center which serves as a model even today. World-renowned artists like Johannes Itten, Wassily Kandinsky, Lyonel Feininger, Paul Klee, Oskar Schlemmer, Walter Gropius, and Mies van der Rohe taught there. The film draws a picture of this singular institution of modernism - from revolutionary beginnings after the end of World War I to disintegration and emigration, covering subsequent careers as well as the involvement of some Bauhaus members in national socialist Germany. These episodes are remembered by former Bauhaus students of both sexes, most of them being featured through archival footage. This comprehensive critical account of the artistic and political aims of Bauhaus in a film portrait gives insight into the essence of Bauhaus principles, the conflicts that lead to relocation from Weimar to Dessau, the disbanding of the school during the Nazi era, the construction work in the young state of Israel, and the development of the Bauhaus myth in the USA.

艺术装饰运动在30年代席卷英国，为人们的日常生活带来许多色彩。本节目中，建筑历史学家David Heathcote探索英国艺术装饰中的四个最好的例子。 　　The Art Deco movement swept through Britain in the 1930s, bringing a little glamour to everyone's life. In this series, architectural historian David Heathcote explores and enjoys four of the best examples of Art Deco in Britain.

艺术装饰运动在30年代席卷英国，为人们的日常生活带来许多色彩。本节目中，建筑历史学家David Heathcote探索英国艺术装饰中的四个最好的例子。 　　The Art Deco movement swept through Britain in the 1930s, bringing a little glamour to everyone's life. In this series, architectural historian David Heathcote explores and enjoys four of the best examples of Art Deco in Britain.

1984 PISMAK / WRITE AND FIGHT (screenplay by Wladyslaw Terlecki based on his own novel) - Set in a prison during World War I, the film centers on a journalist who aspires to be a writer and is imprisoned with a safe-robber and a monk. His cellmates appear to him to be the perfect topic for a novel. Critic Jan Slodowki described the film as "a study in isolation told through the three voices of three people condemned to be with each other; among them, the writer, a maturing artist, his gaze fixed on himself, proves the central figure."

En suppléments, une bande-annonce et deux documentaires nous sont proposés. D’une durée de 52 minutes, La Leçon de cinéma de Abbas Kiarostami, est le compte-rendu d’un entretien ludique et captivant réalisé par Mojdeh Famili. Devant un poste de télévision, le cinéaste y commente, télécommande à la main, quelques séquences du Vent nous emportera et revient plus longuement sur le processus de création. Divisé en quatre chapitres, le documentaire pose des questions simples et pertinentes: Comment trouver le chemin?, Comment habiter le village?, Comment construire la réalité cinématographique?, Comment trouver les liens? A partir d’anecdotes amusantes, Kiarostami explique avec clarté les difficultés rencontrées lors du tournage. Où l’on découvre qu’une simple pomme peut retarder la mise en place d’une séquence. Et qu’un coq s’avère un excellent acteur. Brassant des thèmes variés, cette leçon de cinéma livre les principales clés du film. On regrette simplement qu’elle ne dure pas plus longtemps.

玛格丽特·杜拉斯 谈论她的作品“写作”，纪录片，时长43分钟，彩色，video。

位於台风频仍的地区，又紧邻一系列的地震断层线，全球第一大高楼台北101撷取来自竹子、赛艇和跑车的概念，才不致於沦为一座17亿5千万美元的灾难。有监於大楼的高度，以及所在位置每10年都会发生地震，台北101必须兼具刚 和柔 。建筑师王重平令人跌破眼镜，特别以竹子做为大楼的结构蓝本。为了让台北101在超级风暴中依然伫立，王重平采用3500年前，由玻里尼西亚人所研发的工程解决方案，在大楼外部加上特殊的悬臂梁，以类似赛船的方式维持大楼的稳定。但光靠悬臂梁也无法阻止顶端楼层在强风中摇摆。大楼运用一般安全带的概念，在87楼到92楼之间悬吊一颗6百吨重的巨大钢球，当作平衡充油减震器的摆锤，协助分散大楼的摆汤。

一个偶然的午后，于亮平遇到了一个叫“扳手”的神秘女子，此后他们以及于亮平的妻子，余妮三个人的关系产生了微妙的变化

《树木写作颂》是由Jessye Wdowin-McGregor创作的“视频诗”，与著名诗人、小说家、学者、编辑和翻译家欧阳昱（Ouyang Yu）合作完成。该作品反思了欧阳昱长期以来在澳大利亚墨尔本东北郊的布杜拉公园（Bundoora Park）树干和树叶上写诗的日常实践。布杜拉公园是一个大型开放的公园，是欧阳昱近三十年来不断回访的灵感来源地。 　　该作品是在2023年“Correspondences”（墨尔本，澳大利亚）的合作艺术家驻地项目期间创作的，该项目由Emma Thomson策展。视频中所朗读和书写的诗歌均来自欧阳昱，除了两首古代中国诗歌——分别是王之涣的《登鹳雀楼》和李白的《静夜思》。王之涣的诗《登鹳雀楼》/“White Sun”出现在树上，欧阳昱朗读李白的诗《静夜思》/“Thoughts on a Still Night”。注：上述诗歌的标题由欧阳昱翻译。

“Continued explorations of automatism as a practical guide to negotiating the mysterious zone where light and no-light flutter in a fecund equipoise. A homemade rocket to realms unknown to any movie camera or photo lens. In the end, perhaps nothing more than a search for an experience of continuity, a kind of sanity. Failing sanity, a wild ride at least.”