黃包車伕孟小龍遭人陷害，老母傷重不治，遂遵母遺言，偕未婚妻小青藏身絕嶺，日夜苦練，誓以武功除害。

美国当局为了维护大石油寡头的利益，鼓励资源消费，强制规定卡车司机的时速为55公里/小时（最耗油的时速)。一伙绰号分别叫鸭子、猪圈的几个大卡车司机对此极为不满，无视法律保持经济时速行驶，并在公路上与一个贪腐的警察斗智斗法，卡车司机们的队伍日益壮大，政府动用军警进行镇压，最后当局将鸭子的领头车炸毁在桥上，然而鸭子却奇迹般生还，受到美国民众英雄般的欢呼。这是中国改革开放后引进的第一部美国电影

The earth, life and death, indifference and affection, abandonment, faith. Words and silence, light and shadow, the endless survival, the inability to love. A trilogy set in 2017, 2028, 2037. Three women of different generations and backgrounds cross paths; their tentative steps to fully exist evoke fragments of stories, bringing real life experiences and events into each character.

42 workers take their lunch break in a corridor that stretches the entire length of a shipyard. What was a brief interval in their work day expands into a sustained gaze. 　　源自：https://www.cinemadureel.org/en/films/lunch-break-2/

妈妈平时很操劳，一群可爱的小朋友想在三八节来临这天帮妈妈做些事，让妈妈好好休息休息。虽然心意是好的，可是这些平时娇生惯养的小公主小皇帝们什么都不会做，结果越帮越乱。动画片想要告诉小朋友们，平时就应该帮助妈妈做一些力所能及的家事，在日常生活中培养自立能力，以及勤劳的品质。

旭日初升，新的一天又开始了。空空荡荡的大房子里，闹钟铃声大作，狸猫先生倏地从床上蹦起。它叠好被子，放在旁边的凳子上，然后冲到壁橱旁去关闹钟。谁知闹钟太高了，它根本够不到，只得又把凳子搬过来，却又摆错了位置。如是再三，手忙脚乱，做完这件忘了那件，总算把闹钟关上了。眼看时间耽误不少，狸猫先生连忙继续做接下来的事情，不过恐怕它的记性太差了，所有的事情越做越乱，精神几近崩溃。借助外力的帮助，狸猫先生总算搞定一切，开始了海边的快乐旅行。 　　上苍保佑统筹性超差的狸猫先生旅行愉快……

The second movie of Kiarostami, made in 1972. It calls in my mind some of the very first movies of Brakhage, especially The Way to Shadow Garden. In both cases, a minimalistic gem, nothing explained, a personage without history, without motivation, with the unique role of putting in value a disconcerting universe. 　　Is it the admirable end of Breaktime a negative stasis (like in the movie of Brakhage)? Well, it is somehow a way to the Gardens of Shadow, too, though I think it is, much more, something else: it is an end refusing to be the end (as the movie actually has no beginning, also). This fourteen minutes movie dares to eliminate the story from its structure! It is a shame that Breaktime passed unobserved, because it was marking a new age in the history of cinema.

The second movie of Kiarostami, made in 1972. It calls in my mind some of the very first movies of Brakhage, especially The Way to Shadow Garden. In both cases, a minimalistic gem, nothing explained, a personage without history, without motivation, with the unique role of putting in value a disconcerting universe. 　　Is it the admirable end of Breaktime a negative stasis (like in the movie of Brakhage)? Well, it is somehow a way to the Gardens of Shadow, too, though I think it is, much more, something else: it is an end refusing to be the end (as the movie actually has no beginning, also). This fourteen minutes movie dares to eliminate the story from its structure! It is a shame that Breaktime passed unobserved, because it was marking a new age in the history of cinema.