Deep in the rain-forest of Central Africa lies an elephant oasis - a remarkable place that holds the key to the future for Forest Elephants. Over the last 20 years, Andrea Turkalo has been studying these enigmatic giants, getting to know over 4,000 intimately. She has begun to unravel the secrets of their complex social lives and the meanings of their unique vocalizations. New acoustic research is shedding light on the many mysteries that still surround forest elephant society. Will these endangered elephants finally speak out and tell Andrea what it is they need to survive?

The third in the quartet of black-and-white films comprising the Quay Brothers' Stille Nacht cycle (the others being Dramolet, 1988, Are We Still Married?, 1992 and Can't Go Wrong Without You, 1993), Tales From Vienna Woods was also made with the intention of exploring imagery that they planned to develop further in their first feature Institute Benjamenta, which was then in limbo awaiting funds. In fact, so close were the short and the feature in terms of overall tone (despite the one being animated and the other live-action) that the former was subsequently recycled as the latter's theatrical trailer, in a slightly but not significantly modified form. 　　A clue to the film's purpose is embedded in a wreath adorning a pair of asymmetrical deer antlers: Ich bin im Tod erblüht ("in death have I blossomed" - for once, an onscreen translation is provided). This is followed by a sequence in which an animated severed hand explores a dusty archive of arcane exhibits, the central display of which consists of a table with multiple legs that's been suspended from the ceiling above a base of forest detritus, notably pine cones. As the camera circles slowly around to the front, we see that the table has been decorated with the same asymmetrical antlers, and at the back a pair of testicles can be glimpsed beneath the table top. 　　What the film is doing, in characteristically oblique form, is endlessly replaying the moment when the deer met its death: the film delicately but unmistakably implying (through the metaphorical use of pine cones) that it was shot in the testicles. From time to time, in the dead of night, the table regurgitates the bullet via a long-handled spoon that emerges from between its rear legs, intercut with images of the bullet emerging from the gun and commencing its journey to the target, slowed down to highlight every step.

影片从美国一所高中里的平凡一日开始。像往常一样，这个平淡的日子里被家庭作业、足球、流言等等所填满。对于每位学生来说，高中生活都是一种独特的体验：刺激的，友好的，痛苦的，孤独的，或艰难的。Eric 和 Alex是两个好朋友，他们居住在富裕的波特兰城郊。他们着迷于纳粹的形象，喜欢暴力电子游戏，尝试过同性恋情，并冷静地策划着对学校的武装袭击。是什么导致了这些？不尽责的家长？精神病患？同辈人的压力？父辈的压力？还是越来越频繁凸现的某种人类本性？你可以有自己的看法。

美国一所普通高中普通的一日，逃课未果的John（John Robinson），在父亲的逼迫下回到校园；喜欢摄影的Elias（Elias McConnell），在校园内外拍过一些人物和风景后，来到学校暗房冲洗照片；新交了女朋友的Jordan，正被与他有过关系的女孩纷纷议论着；被人冷落情绪异常低落的Michelle，来到学校图书馆帮助做工…… 　　校园高墙之外，时常受人欺负的“患难兄弟”Eric（Eric Deulen）和Alex（Alex Frost）正在家里午睡，他们对纳粹形象和暴力游戏非常迷恋，曾在互联网上订购了枪支。午睡过后，两人进行一番简单的策划，身穿美军野战装、手持冲锋枪走进校园，开始大开杀戒。

阿兰·克拉克倒数第二部作品，片长37分钟，由十几组谋杀镜头组成，这些谋杀段落都是根据真实案例提炼而来。全片只有一句台词。 　　加斯·范桑的《大象》片名就取自这部影片，同时借鉴了它的拍摄手法。

Documentary follows an African elephant named Shani and her son Joao as their heard make an epic journey across the Kalashnikov Desert.

马戏团的大象在一次表演中无法站立，因此马戏团决定放弃这头大象而继续前往巴黎表演。在马戏团工作的女孩也被团长遗下，和运送大象去安乐死的货车司机，一路前行。 　　一路上大象带给途人无数欢乐，而只有女孩和司机知道它的命运……

搬入新家的老人许云环无法适应新的环境，神智模糊行动不变的她孤身回到曾经居住的渔村，一路上老人遇到了种种同样精神世界信仰混乱缺失的人们。

安帕罗带着两个儿子，从哥伦比亚的战乱中，逃跑到亚马逊陆地中心的一个小岛上。丈夫在这场战乱里失踪了。无法申请难民赔偿的安帕罗，找到了一份扛麻袋工作。她不仅要照顾两个孩子的生活起居，赚取他们的学费，还要时刻注意儿子是否有损害他自己安全的举动。失踪多时的丈夫突然现身小岛，本该是一家团圆的时刻，却要饱受着一个秘密的折磨。

电影讲述在一片迷茫的浓雾中，被困在即将倒塌的机场大桥上的人们为了摆脱无法预料的威胁而孤军奋战的故事。 ​​​