导演亲自扮演一位电影导演，他辛苦工作收入菲薄，而且还无法满足自己的妻子。影片中夫妻俩在打架、交谈、修补关系，再谈话、接着打架。

影片讨论了制作电影所使用的摄影机。其标题指的是一种行之有效的教学方法，即通过命名日常物品的特征和属性来呈现它。对物理对象的仔细观察可以更好地理解抽象概念。这里展示的物品是“Blackmagic Design Pocket Cinema Camera 4K”。电影专业的学生将此工具/物品/产品称为“黑魔法”或“4K”。本片的背景设定在艺术学院，角色是电影专业的学生。故事以其中一名学生为主角，她在暑假为同学拍摄肖像。在虚构、纪录片和论文的模糊中间地带，本片通过她的声音反映了图像制作、我们与摄影机的关系、电影学院以及专注的问题。

For Aichi Triennale 2022, Weerasethakul collaborates with Japanese artists to create his first augmented and virtual reality performance and let visitors commune with invisible ghost-like presences, encounter sick and sleeping bodies, and experience time suspended in a circle. Weerasethakul, whose previous works have brought the invisible, inaudible and untouchable into our realm of the tangible, has greatly expanded the virtual space by making use of augmented and virtual reality. Fifteen audience members at a time are invited into a dark space to roam around, experiencing Weerasethakul’s visual poetry beyond the confines of language, soundscapes of silent waves by Sakamoto Ryuichi, and interactive particles of light floating through the air... They are invited into the depths of memory and existence in a dreamlike world where the origins of life and the afterlife coexist.

For Aichi Triennale 2022, Weerasethakul collaborates with Japanese artists to create his first augmented and virtual reality performance and let visitors commune with invisible ghost-like presences, encounter sick and sleeping bodies, and experience time suspended in a circle. Weerasethakul, whose previous works have brought the invisible, inaudible and untouchable into our realm of the tangible, has greatly expanded the virtual space by making use of augmented and virtual reality. Fifteen audience members at a time are invited into a dark space to roam around, experiencing Weerasethakul’s visual poetry beyond the confines of language, soundscapes of silent waves by Sakamoto Ryuichi, and interactive particles of light floating through the air... They are invited into the depths of memory and existence in a dreamlike world where the origins of life and the afterlife coexist.

My grandfather was Leo Hurwitz. If you don't know this name, it is understandable. Leo Hurwitz is recongnized as one of the founding fathers of the documentary genre. He along with his production company, called Frontier Films, made several very important films including Native Land, seen as one of the greatest documentaries of all time. His was to be a quite successful carear. This all came crashing to a halt, when his name was named by Elia Kazan. He was relegated to small low budget work, none of which ever gained noteriety, as we was forbidden to work on any major project. What makes this worse, is that, though my Grandfather had many socialist ideals, he was not a communist. He was a firm believer in democracy. His carear was ended because someone thought he was communist. Think about that, when you talk about this man.

四名不同背景的藝人，包括姜皓文、蔡思貝、余文樂、林盛斌，在近乎沒有別人幫助的情況下，獨自走訪南也門、索科特拉島、澳洲昆士蘭大堡礁及北領地紅土地區，分別探討人生四個重大思考課題︰身在逆境應如何自處？人生最可怕是甚麼？人生為誰而活？性格是否決定命運？在渺無人煙的天地之間，每位藝人都於最真誠、無任何騷擾之下撫心自問，來一場真正的《與天地對話》，對自己敞開真正的心扉。

Amis inséparables, Jeremy et Michel nourrissent une même passion pour la musique, dans laquelle ils espèrent faire carrière. Un jour, le chemin des deux auteurs-compositeurs-interprètes croise celui de Margaux, imprésario à la recherche de jeunes talents. N'ayant rien à perdre, ou si peu - leur emploi de serveur - ils acceptent de faire partie d'un concert organisée par celle-ci. Mais Jeremy est tombé sous le charme de Margaux, dont le mari Peter, écrivain, est retourné aux Etats-Unis en lui laissant leurs deux enfants, Charlotte et Elliott.

内田也哉子访问了6个地方，与6名“对话者”继续对话之旅。

四名不同背景的藝人，包括姜皓文、蔡思貝、余文樂、林盛斌，在近乎沒有別人幫助的情況下，獨自走訪南也門、索科特拉島、澳洲昆士蘭大堡礁及北領地紅土地區，分別探討人生四個重大思考課題︰身在逆境應如何自處？人生最可怕是甚麼？人生為誰而活？性格是否決定命運？在渺無人煙的天地之間，每位藝人都於最真誠、無任何騷擾之下撫心自問，來一場真正的《與天地對話》，對自己敞開真正的心扉。

本片是由哥伦比亚电影公司出资委任电视纪录片导演皮特•戴维斯（Peter Davis）拍摄的一部探讨美国为何在1959-1975年期间发动对越战争，越南人民的悲惨遭遇，以及美国人民对越战态度转变的纪录片。这是美国本土首次放映直接采访刻画越南平民惨境的影片，片中多次表现了美军将领的种族主义和美国政府对国内人民的无耻欺骗。电影于1974年在法国嘎纳电影节首映，随即便因内容的严重争议性被哥伦比亚公司搁置。制片人波特•施耐德（Bert Schneider）与亨利•兰格（Henry Lange）向哥伦比亚公司买回了版权，并终于1975年通过华纳公司在美国公映。 　　本片获1974年奥斯卡最佳纪录片奖，并被提名同年金球奖最佳纪录片。