从古猿开始直立，地球上出现了人类的文明史。石器时代，人们从生活的偶然现象中创造出了艺术样式；摩西的十诫居然是出自失误；在伟大的罗马城中，人们在集市上展示各种新奇发明，而领取失业救济金的脱口政治家卡库斯（梅尔•布鲁克斯 Mel Brooks 饰）从经济人斯威特那里获得了一次进入皇宫表现的机会，卡库斯在集市上结识了被贩卖的才艺黑人乔飞斯以及女皇的女侍梅瑞，在凯撒面前表演脱口政治秀的卡库斯不慎口误，令皇帝勃然大怒，本来要被处死的卡库斯与乔飞斯二人一路杀出宫殿，在梅瑞的帮助下开始了东躲西藏的冒险生涯；随后的西班牙宗教法庭和法国大革命的故事都一一在导演梅尔•布鲁克斯的恶搞中呈现出别样的味道。

Finally, a sequel to the seminal Mel Brooks film, HISTORY OF THE WORLD PART I, with each episode featuring a variety of sketches that take us through different periods of human history.

公元120年，全盛时期的罗马帝国正准备入侵亚洲，但远东霸主中国想要独自掌控这片土地，他们绝不会向罗马帝国屈服，让出一分一厘的土地。对权力的渴求只能通过饮血来纾解，获得飨足。中古时代陆地上两个最强大的国家之间的冲突一触即发，它们的碰撞将会创造出前所未有的伟大而神秘的传奇。 本片讲述了在这样的文化背景下，亚历山大大帝后裔、一位名叫“Merong Mahawangsa”的勇敢海军上尉，率领船队护送罗马王子来亚洲与中国公主完婚的故事。在旅途中，他将经历不少浪漫而危险的事件。

"BRAZILIAN EMPIRE", originally "BRASIL IMPERIAL", is a 10-episode series. In 1807, in an unprecedented action, D. João, heir to the Portuguese crown, decides to get away to Brazil with his entire court in an attempt to escape Napoleon's troops. Young servant Arrebita clandestinely embarks on this transatlantic adventure toward the tropics and gets involved in the historical events that transform Rio de Janeiro into the capital of the Portuguese Empire and culminate in the process of Brazilian independence and the subsequent return of D. Pedro to Portugal. Narrated by Gonçalves Ledo, a liberal politician and a strong opponent of absolutist ideals, "Brasil Imperial" presents the negotiations, plots, and political conspiracies that marked the period of D. João's stay in the Americas and the first empire of D. Pedro. Issues such as slavery, the Emperor's authoritarian attitudes and his many affairs, the death of Princess Leopoldina, the many popular uprisings in search for freedom, and the establishment of an economic and political elite guided by privileges, in addition to the corruption and the shady interests that guided Brazilian life in the period, are the background of the intricate romance between Arrebita and Ana do Congo. The plot also serves as an opportunity to suggest a discussion on the inheritances that are still perpetuated in today's administration of the Brazilian State and in the organization of its society

在法国加莱海岸的沿线，有一个小小的村落。这个村庄里没有多少人家居住。小河和沼泽遍布在村庄之中，使得这里看上去像一个世外桃源。村庄里住着一个怪人，他一个人生活，一个人照顾自己、一个人祈祷。 当地一家农户的女儿前来照顾他的生活，给他食物。并和他在村庄外的树林里生活了一段时间。可是他们不知道的是，就在他们享受生活的同时，“撒旦“也悄悄开始在他们周围徘徊。一个男人和这个姑娘纠缠不清，这个怪人就把他杀了；一个护林员在树林里巡视的时候，又被这个怪人毫无征兆地打了个半死。随着他的这种奇怪的举动越来越多，人们不禁开始对他的身份产生了好奇，他究竟是什么人呢？

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。

维克多（约翰·雷吉扎莫 John Leguizamo 饰）生活在车水马龙的大都市纽约，在这里，他经营着自己的毒品生意。维克多靠着贩卖一种名为“帝国”的毒品发家致富，过着奢靡无度的生活，与此同时，他还邂逅了名为卡门（丹妮丝·理查兹 Denise Richards 饰）的美丽女子，两人走到了一起。 卡门怀孕了，这让维克多开始意识到，自己不能够再靠着作奸犯科来赚钱了，他必须找到一个能够给他提供稳定收入但是又合理合法的行当。抱着这样的念头，维克多结识了银行家杰克（彼得·萨斯加德 Peter Sarsgaard 饰），在杰克的带领这下，维克多开始野心勃勃的向纽约上流社会进发。

'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.