该故事是从蛮族叛军的视角来叙述罗马帝国的兴衰。 在罗马四周生活着许多崇尚野蛮暴力生活方式的部落，罗马将他们统称为「文明世界之外的野蛮人」，但是这些勇敢的蛮族勇士们通过英勇反抗和史诗般的战斗改变了世界的格局—要么通过战斗获得自由，要么死亡，除此之外便没有第三条路可走。他们浴血奋战了数百年，无数个日夜都在渴求着何时有一个自己的家园。追求自由的路上，是与亲友背道而驰？还是与异族携手共进？战场之上没有永恒的伙伴，无数人为此奉献了生命牺牲了家人，他们最终的目标就是—摧毁人类历史上最强大的帝国。

时值辰历1342年，西方的伊鲁德连王国持续7年的第十七次东征再次宣告失败。第一骑士团团长「水晶盔」赛拉为了在友军撤退时断后而与体型巨大的敌方将领单挑落败，醒来后发现自己变成了被枷锁铐住的俘虏。但接下来等待她的并不是敌人的拷问或凌辱，而是求婚……被抓回去当山寨夫人的女骑士从「败北」开始的幸福恋爱故事！

时值辰历1342年，西方的伊鲁德连王国持续7年的第十七次东征再次宣告失败。第一骑士团团长「水晶盔」赛拉为了在友军撤退时断后而与体型巨大的敌方将领单挑落败，醒来后发现自己变成了被枷锁铐住的俘虏。但接下来等待她的并不是敌人的拷问或凌辱，而是求婚……被抓回去当山寨夫人的女骑士从「败北」开始的幸福恋爱故事！

从哈布斯堡王朝到神圣罗马帝国，维也纳是中欧的统治中心。历史学家Simon Sebag Montefiore讲述欧洲名城维也纳的兴衰。

2008年5月，君临俄国八年的普京总统卸任了。可是在卸任后，他转任总理，仍继续留在政权之内。“继任总统”梅德韦杰夫的选举口号是：一切照旧。明确了今后的实际掌权者仍将是普京。“普京王朝”坚如磐石的秘诀在于对媒体的彻底支配。就任后，将三大电视台全部国有化，并大力塑造普京强人领袖的形象，这打动了冷战后自信扫地的俄国国民的心，如今，他们更将其与俄罗斯传统的沙皇形象叠印在一起，拥护普京的狂热正愈演愈烈。而另一方面，独立媒体的新闻工作者们却在大声疾呼，这次的权力继承将导致俄罗斯民主的灭亡。但在媒体煽动下，沉湎于大国复兴美梦中的国民，成为抹杀他们呐喊声的铜墙铁壁。媒体受国家权力操控的这个国家正在发生着什么。从最前线揭示步入普京院政时代的俄国真面目。

百无聊赖的法国滨海小镇，惊传离奇车祸断头案，悬案背后暗藏两大外星势力——邪恶0帝国与善良1帝国的角力。0帝国武士附身普通渔夫，与人类生下混种小王子，恶魔血脉开枝散叶，宇宙和平岌岌可危；1帝国公主为阻止0帝国耍阴招侵略地球，奉女王之命无差别血刃敌军臣民。在这个无人在意的世界角落，关乎人类未来的宇宙大战一触即发。

克里斯（利亚姆·海姆斯沃斯 Liam Hemsworth 饰）一直希望能够成为一名警察，却在连连遭遇失败后来到了帝国装甲卡车公司，成为了那里的保镖。没过多久，克里斯便发现，公司内的安保布置看似无坚不摧实际上漏洞百出，他将这个秘密告诉了好友艾迪（迈克尔·安格拉诺 Michael Angarano 饰），谁知道自己的无心之谈竟然惹出了之后的一连串大麻烦。 　　克里斯决定和艾迪联手，两人策划了一宗现金抢劫案，打算在得手之后远走高飞。谁知道这个看似一帆风顺的计划，却因为精明的警探詹姆斯（道恩·强森 Dwayne Johnson 饰）的介入而徒增了风险。与此同时，掌控该片区的黑帮老大亦对两人的计划产生了兴趣。

'Empire' was the trailer for the Viennale 2010 and screened in over one hundred cinemas in Austria and during the festival in Vienna.

'Empire' was the trailer for the Viennale 2010 and screened in over one hundred cinemas in Austria and during the festival in Vienna.

Short film Empire is based on a radio drama Sorry, Wrong Number by the American writer Lucille Fletcher. Actually, Sokurov draws on a single theme forming the background for the story of the thriller — the woman's illness… The heroine is bed–ridden and her only means of communication with the outside world is her telephone — until a killer interrupts the conversation… 　　Sokurov removes all the dialogues, leaving us alone with the heroine — “a living skeleton” among the refined, with a touch of Modern–style, furnishings — who is listening to a radio broadcasting of Traviata, with its pleas for mercy and love. An elegant coffin–home is the spatial centre and symbolization of the entire film. And inside the coffin we certainly see the actress — the famous Russian ballerina Alla Osipenko who plays not only the heroine but also her own self. 　　This metaphoric cinema–image bears an allusion to the great “handicapped” Sarah Bernhardt who was reported to sleep in a coffin, as well as to the entire complex of aesthetised Decadence, converting an apology of Death into a lifestyle. Here is the key to the code of the title. Empire is a style that attempted to reanimate the dead ancient harmony. The heroine of Sokurov's film communicates with her phone as the only partner, and sort of interferes with the beyond, attracting this air — intangible yet saturated with danger. It is from the radio air that she accumulates both pleasure and tranquillity — the aria of dying yet beloved Violetta, while the killer's silhouette materializes from the phone air. A chamber pot, overturned and spilt by the killer in haste, remains the only evidence of human activities in this boudoir of Death. Sokurov's metaphor, clad in naturalistic details, produces the effect of ironic disclosure: “a wet spot” is left after a symbol. 　　The film was shot as a study work of a VGIK student S.Sidorov. At that time Sokurov did not have a chance to launch a project of his own, therefore he used this possibility to work. Visual conception of this film anticipates a considerable number of Sokurov's future experiments: light that models the space, levelling of colours, correlation of contrasting textures.