This is the second installment of a three-part series of autobiographical films about the director's life. The first, which won various awards for its maker, was entitled Zamri Oumi Voskresni and was later retitled Zari, Umri, Vokresni ("Freeze, Die, Come to Life!"). 　　At the end of that film, set at the conclusion of World War II, the young Valerka was striving hard to overcome the inertia of just getting by, along with his sometime friend Galiya. In this one, he is adjusting to Galiya's death and is back in school and is living with his mother, a prostitute. After a girl at the school is found to have been gang-raped, the headmaster chooses Valerka to be one of the scapegoats, though he had nothing to do with the deed. The punishment seems mild enough, he was simply expelled from school. However, after quarrelling with his mother about the incident, he takes to the road, and discovers a society so bleak, degraded and hopeless that it is a wonder he remained alive. The film was entered into the 1992 Cannes Film Festival, where it won the Jury Prize.

This is the second installment of a three-part series of autobiographical films about the director's life. The first, which won various awards for its maker, was entitled Zamri Oumi Voskresni and was later retitled Zari, Umri, Vokresni ("Freeze, Die, Come to Life!"). 　　At the end of that film, set at the conclusion of World War II, the young Valerka was striving hard to overcome the inertia of just getting by, along with his sometime friend Galiya. In this one, he is adjusting to Galiya's death and is back in school and is living with his mother, a prostitute. After a girl at the school is found to have been gang-raped, the headmaster chooses Valerka to be one of the scapegoats, though he had nothing to do with the deed. The punishment seems mild enough, he was simply expelled from school. However, after quarrelling with his mother about the incident, he takes to the road, and discovers a society so bleak, degraded and hopeless that it is a wonder he remained alive. The film was entered into the 1992 Cannes Film Festival, where it won the Jury Prize.

描写了与印度尼西亚独立战争相关的日本兵的故事。

描写了与印度尼西亚独立战争相关的日本兵的故事。

A group of Italian soccer fans arrive in Paris for a match, but most of them go their separate ways to explore the sights, have a bit of an adventure, and maybe even find some romance.

兰尼副总统正在为儿童健康基金会做宣讲时，一艘不明身份的巨型飞船悄然而至。战术空军司令部派出的多架飞机均被击毁，总统遇难，兰尼接任。原来这艘飞船来自太空中的猎户星云。猎户星人摧毁了全世界的政府和军事设施，并声称要给人类一个重启新世界的机会，他们将会带给人类更好的生活。猎户星人通过治愈兰尼儿子的腿疾获取人类的信任，各地居民纷纷登上猎户星人的运输船。但是凯利带领的“第一地球”自卫队并不相信猎户星人，他们通过袭击运输船企图将外星人赶走。另一边，兰尼和她的军官们发现猎户星人对地球和人类原来另有企图，他们必须想办法阻止猎户星人的入侵。当猎户星人首领因不满自卫队袭击运输船的行为要与兰尼会面时，兰尼和军官们决定将研制好的病原体和炸药带上猎户星人的母舰。最终，他们成功摧毁了猎户星人的大本营，并安全返回地球，解救了全人类。

Mimicking early silent films, Independencia creates a lush metaphor that plays with cinematic illusions and the cultural and mythical history of the Philippines. 　　雷瓦馬田的菲島殖民歷史三部曲之一，延續《國民的誕生》的詩電影美學，透過近乎早期默片的畫面構圖，以及敏感的光影對比，述說上世紀初菲律賓獨立戰爭期間的小人物小故事。一對母子為逃避戰火跑到山上，過著隱居生活。兒子在森林發現負傷女子，決定帶她回家。若干年後，他們成了夫妻，且育有一子，然而暴風雨和美國大兵的槍彈都已追上來了。模仿美國殖民統治期間的片廠製作，更加插仿製歷史新聞片斷，拍出別樹一幟的風格。 　　http://www.hkiff.org.hk/chi/film/detail/34099-independencia.html

《独立门》是1984年的韩国KBS大河剧。讲述李氏朝鲜末年东学党起义领袖全琫准以及亲日派女子裴贞子的故事。

第⼆次⼤戦終戦直後、GHQに占領された⽇本において、そのGHQと互⾓に渡り合った⼆⼈の男、吉⽥茂と⽩洲次郎。⽶国主導で早急に憲法改正を推し進めようとするGHQに抵抗し、⼀刻も早い⽇本の独⽴回復にこだわって熾烈な“戦い”に挑む⼆⼈。親⼦ほども年の違う⼆⼈の絆、そして⽇本の未来を⾒据えた熱い思いと覚悟を描く、⼈間ドラマが幕を開ける。

《独立门》是1984年的韩国KBS大河剧。讲述李氏朝鲜末年东学党起义领袖全琫准以及亲日派女子裴贞子的故事。