2001，60min纪录片

德国电视二台ZDF纪录片《Deutschland – Wie wir leben》为我们介绍了一个普通德国人的生活。根据民意调查，德国成为了世界上最受喜爱的国家。德国，这个拥有8000万以上人口的国家，拥有怎样的居民？在这里，人们是如何生活的？对德国人来说，什么是重要的？什么会引发思考？德国——我们的生活是怎么样的？以德国人的视角，从人（Menschen），财(Schaetze)，吃(Ernaehrung)三个方面介绍一个今天德国人的生活。本片是极好的了解德国国情的材料。

德国电视二台ZDF纪录片《Deutschland – Wie wir leben》为我们介绍了一个普通德国人的生活。根据民意调查，德国成为了世界上最受喜爱的国家。德国，这个拥有8000万以上人口的国家，拥有怎样的居民？在这里，人们是如何生活的？对德国人来说，什么是重要的？什么会引发思考？德国——我们的生活是怎么样的？以德国人的视角，从人（Menschen），财(Schaetze)，吃(Ernaehrung)三个方面介绍一个今天德国人的生活。本片是极好的了解德国国情的材料。

克里斯蒂安顺利通过了试用期，正式成为一名船员，他回家亲自下厨，打算与未婚妻好好庆祝一番，而就在此时，五年未见的父亲突然造访，将此前的平静彻底打破。克里斯蒂安童年丧母，父亲因而萎靡不振，父亲的好友彼得和汉娜夫妻俩收留了他，使他成为家庭一员。后来他与彼得的女儿特赖相爱，与彼得的儿子托比亚斯成为挚友。一天夜里，克里斯蒂安载托比亚斯回家途中遭遇了车祸，后者因此丧生。彼得一家伤痛万分，克里斯蒂安却选择逃避，远离家乡，独自生活，直到五年后父亲找到他……

克里斯蒂安顺利通过了试用期，正式成为一名船员，他回家亲自下厨，打算与未婚妻好好庆祝一番，而就在此时，五年未见的父亲突然造访，将此前的平静彻底打破。克里斯蒂安童年丧母，父亲因而萎靡不振，父亲的好友彼得和汉娜夫妻俩收留了他，使他成为家庭一员。后来他与彼得的女儿特赖相爱，与彼得的儿子托比亚斯成为挚友。一天夜里，克里斯蒂安载托比亚斯回家途中遭遇了车祸，后者因此丧生。彼得一家伤痛万分，克里斯蒂安却选择逃避，远离家乡，独自生活，直到五年后父亲找到他……

首富千金沈心慈来到偏远山区老鸦村，参加恋爱脑闺蜜程萌萌的婚礼。然而，沈心慈却发现一切都透露着诡异：态度暧昧的闺蜜未婚夫，凭空消失的猪棚疯女人，夜半莫名伸上床的咸猪手……直到发现程萌萌的未婚夫顾启留在自己房间的证据，沈心慈确信顾启并不像表面看到的那么单纯。沈心慈找到程萌萌，想揭开顾启渣男的真面目，然而程萌萌却被顾启哄骗，认为沈心慈嫉妒自己的幸福，和沈心慈大吵一架。 沈心慈生气离开，气闺蜜对自己没有最基本的信任，气自己和程萌萌二十年的友谊，竟都比不过一个人面兽心的男人！当晚沈心慈差点被顾启侵犯，逃离过程中意外再次见到疯女人。

Nicholas Ray ended his Hollywood career with his most expensive production, 55 Days in Peking (1963), and followed it ten years later with his least expensive, an experimental and politically radical independent feature made with his film students. Each movie is a shambles, though if I had to choose between them I'd probably opt for this one, which is certainly the more original. Ray and his students play themselves in docudrama situations that culminate in Ray's (fictional) suicide, and often he combines several images into crowded frescoes. The film reeks of countercultural alienation and anguish, and when it premiered at Cannes in 1973, Ray spoke of trying to make "what in our minds is a Guernica" out of such materials as "a broken-down Bolex" and "a Mitchell that costs $25 out of navy surplus." He tinkered with the film for years, and the 1976 date commonly assigned to it refers to a second unfinished version, which, lamentably, is unavailable. It's upsetting in many ways, but as a document of its time there's nothing remotely like it. 　　From 1971 to 1973, Ray taught filmmaking where he and his students produced We Can't Go Home Again, an autobiographical film employing multiple superimpositions. In the spring of 1972, Ray was asked to show some footage from the film at a conference. The audience was shocked to see footage of Ray and his students smoking marijuana together. An early version of the film was shown at the Cannes Film Festival in 1973, but Ray, never satisfied with the project, continued editing it until his death in 1979. He secured teaching positions at the Lee Strasberg Institute and New York University with the help of old friends.

Nicholas Ray ended his Hollywood career with his most expensive production, 55 Days in Peking (1963), and followed it ten years later with his least expensive, an experimental and politically radical independent feature made with his film students. Each movie is a shambles, though if I had to choose between them I'd probably opt for this one, which is certainly the more original. Ray and his students play themselves in docudrama situations that culminate in Ray's (fictional) suicide, and often he combines several images into crowded frescoes. The film reeks of countercultural alienation and anguish, and when it premiered at Cannes in 1973, Ray spoke of trying to make "what in our minds is a Guernica" out of such materials as "a broken-down Bolex" and "a Mitchell that costs $25 out of navy surplus." He tinkered with the film for years, and the 1976 date commonly assigned to it refers to a second unfinished version, which, lamentably, is unavailable. It's upsetting in many ways, but as a document of its time there's nothing remotely like it. 　　From 1971 to 1973, Ray taught filmmaking where he and his students produced We Can't Go Home Again, an autobiographical film employing multiple superimpositions. In the spring of 1972, Ray was asked to show some footage from the film at a conference. The audience was shocked to see footage of Ray and his students smoking marijuana together. An early version of the film was shown at the Cannes Film Festival in 1973, but Ray, never satisfied with the project, continued editing it until his death in 1979. He secured teaching positions at the Lee Strasberg Institute and New York University with the help of old friends.

Nicholas Ray ended his Hollywood career with his most expensive production, 55 Days in Peking (1963), and followed it ten years later with his least expensive, an experimental and politically radical independent feature made with his film students. Each movie is a shambles, though if I had to choose between them I'd probably opt for this one, which is certainly the more original. Ray and his students play themselves in docudrama situations that culminate in Ray's (fictional) suicide, and often he combines several images into crowded frescoes. The film reeks of countercultural alienation and anguish, and when it premiered at Cannes in 1973, Ray spoke of trying to make "what in our minds is a Guernica" out of such materials as "a broken-down Bolex" and "a Mitchell that costs $25 out of navy surplus." He tinkered with the film for years, and the 1976 date commonly assigned to it refers to a second unfinished version, which, lamentably, is unavailable. It's upsetting in many ways, but as a document of its time there's nothing remotely like it. 　　From 1971 to 1973, Ray taught filmmaking where he and his students produced We Can't Go Home Again, an autobiographical film employing multiple superimpositions. In the spring of 1972, Ray was asked to show some footage from the film at a conference. The audience was shocked to see footage of Ray and his students smoking marijuana together. An early version of the film was shown at the Cannes Film Festival in 1973, but Ray, never satisfied with the project, continued editing it until his death in 1979. He secured teaching positions at the Lee Strasberg Institute and New York University with the help of old friends.

婚姻不幸的土耳其女子乌马伊（西贝尔·凯基莉 Sibel Kekilli 饰）不仅跟丈夫毫无爱情可言，更时常遭受丈夫的家庭暴力。悲剧的婚姻致使乌马伊带着儿子逃回了娘家德国。然而她悲剧的命运并没有因此终止，迎接她的非但不是一个可以依靠的温暖的家，而是家人的冷嘲热讽。为了声誉，家人居然极力劝她按照传统习俗，把儿子送回给土耳其的丈夫抚养。面对家人的冷眼和唾弃，善良宽容的乌马伊并没有放弃，她坚持自己抚养儿子，不得已下寄居在朋友家。然而这仅仅是悲剧的序曲，乌马伊带着儿子去看望病危的父亲，却不曾想到，等待她的，居然是自己弟弟的枪口。 　　本片不仅荣获2010年第60届柏林国际电影节欧洲院线大奖，还获得欧洲电影奖、德国电影奖在内的六次提名，三项大奖。