A fearless warrior and ruthless conqueror, Genghis Khan’s epic rise and the Mongolian Empire’s incredible expansion are brought to thrilling life in this six-part series. Drawing on a new translation of “The Secret History of the Mongols,” the series reveals stunning insights into the life and many battles of the legendary ruler known widely as Genghis Khan.

Synopsis: 　　A group of cosmopolitan women passengers aboard the Trans-Siberian/Mongolian Railway are taken prisoner by Ulan Iga, a warrior princess. The rigors of the harsh desert landscape in summer test the prisoners' endurance, unlike Princess Ulan and her tribe, who are united with the physical environment by tradition and necessity. 　　Ottinger about her Film: 　　This is a film about different kinds of narration. In my films, there is never a singular plot. Nevertheless there is a story. The first part of the film is a trip through history on the Trans-Siberian Railroad, a grand old train on which people traveled from East to West and West to East for over a hundred years. I was fascinated by the story of this train. I found it a wonderful place to bring together people of all types. I focused here on four very different female characters who represent stories from different epochs. There is the elegant Lady Windermere who is an amateur ethnologist from late nineteenth century. She is what was called a "private scientist," a rich person devoted to a singular obsession of study, as in old English novels. Lady Windermere was inspired by the Victorian trends of this time and highly influenced by all the experiences in the colonies of the British Empire, to study the culture of Mongolian nomads. She is seen traveling in a salon wagon, her own sumptuous private train car. This signifies that she is from the time when the diplomatic corps, princes, and kings traveled on the Trans-Siberian Railroad as in a luxurious hotel. Then there is a beautiful young girl, Giovanni (later called Johanna), who is from our contemporary times today. She is an adventurer, traveling with a knapsack and a Walkman. At first she is in the third class carriage with soldiers and peasants who travel with their animals. Then she is invited to join Lady Windmere at her dinner table and in her private car. There is a German professor, Frau Muller-Vohwinkel, who travels with a Baedeker, the famous travel guide that she reads carefully, so that everything she sees has already been interpreted. And there is Fanny Ziegfield, a musical star from the nineteen thirties or forties of the great music halls. They are all on the train traveling in a linear path from West to East. Most of the travelers plan to go through Mongolia on the way to other destinations. Only Lady Windemere intends to remain in Mongolia, to continue her enthnographic studies. In addition to these characters, there is also a three woman entertainment troupe, the Kalinka Sisters. They are like a traveling Yiddish version of the Andrew Sisters. There is also a male character, Mickey Katz, who is a Yiddish tenor enroute to Harbin, China to meet up with its large Jewish community. While on the train he joins the other singers in presenting wonderful songs from music halls of the thirties and forties like those from New York's old Second Avenue. 　　The film is divided into three sections. In the first and last parts of the film, the action is on the train. These scenes were all shot in meticulously constructed sets made in the studio, even the glimpses of the passing outside landscape, as seen through the windows. I wanted the audience to truly see the artificiality of that construction. So, you catch a glimpse of a rip in the back wall of Lady Windemere's private car. But the rip is really a trompe l'oeil painting made by theatrical set painters. It signals this as an intentionally highly artificial presentation of the Western world. 　　In contrast, the central section of the film, when the train reaches Mongolia, was all shot on site, in the natural landscape. Here the train is stopped and the women travelers are kidnapped by a band of Mongolian tribeswomen, led by Princess Ulun Iga, who take them from the train to their seasonal encampment. Everything changes. In this nomadic landscape there is no linear path to follow. This goes also for the dramaturgy. The slow epic time of the Mongolians begins, with fairy tales, rhapsodic narration, and wonderful epopees--the old traditional songs in which they tell their whole history. It is an old dramaturgy as in Shakespeare--very simple, a skeleton that you fill with anything you wish. Like an epic, this is a space for the actualities, daily life, religious rituals, and so on of this largely female nomadic Mongol community. As relationships develop, we see various cultural confrontations between nomadic and settled cultures, between fiction and documentary, between the period costumes of the Europeans and the lavish traditional dress of the Princess and her retinue. 　　When I begin a new film, the inspiration, content, and style of the film comes from the place in which I start. Here it is Mongolia. I always like to change the point of view, to go around a theme looking at it from various perspectives and different points of view. This makes things more complex and a bit more difficult in a world where cinema is expected to be simply entertainment. Of course, I am not interested in this. Johanne d' Arc is an amusing film. But it is amusing on another level. It is a film about cultural misunderstandings, which can be quite funny. I have traveled a lot in other countries and learned a great deal about misunderstandings that I found highly interesting. It is important for me to talk about that. 　　The Critics: 　　"The whole film is a twin structure, cut through by doubles, repetitions, similarities and endless reflections. The images have a crease, established by the stories [...] In this way the Mongolian world casts a reflecting light on western customs and habits and cinema recommends itself as the instrument of investigation and the agent of old and new myths." -- Frieda Grafe, Suddeutsche Zeitung, April, 3rd,1989 　　"JOHANNA represents the fanciful attempt of a unique German filmmaker to explore the way extremely different cultures migrate and influence each other. The theme of the wanderer/outsider, carrier of diverse ideas, runs through all of Ulrike Ottinger's strikingly original films." -- Judy Stone, San Francisco Chronicle

Synopsis: 　　A group of cosmopolitan women passengers aboard the Trans-Siberian/Mongolian Railway are taken prisoner by Ulan Iga, a warrior princess. The rigors of the harsh desert landscape in summer test the prisoners' endurance, unlike Princess Ulan and her tribe, who are united with the physical environment by tradition and necessity. 　　Ottinger about her Film: 　　This is a film about different kinds of narration. In my films, there is never a singular plot. Nevertheless there is a story. The first part of the film is a trip through history on the Trans-Siberian Railroad, a grand old train on which people traveled from East to West and West to East for over a hundred years. I was fascinated by the story of this train. I found it a wonderful place to bring together people of all types. I focused here on four very different female characters who represent stories from different epochs. There is the elegant Lady Windermere who is an amateur ethnologist from late nineteenth century. She is what was called a "private scientist," a rich person devoted to a singular obsession of study, as in old English novels. Lady Windermere was inspired by the Victorian trends of this time and highly influenced by all the experiences in the colonies of the British Empire, to study the culture of Mongolian nomads. She is seen traveling in a salon wagon, her own sumptuous private train car. This signifies that she is from the time when the diplomatic corps, princes, and kings traveled on the Trans-Siberian Railroad as in a luxurious hotel. Then there is a beautiful young girl, Giovanni (later called Johanna), who is from our contemporary times today. She is an adventurer, traveling with a knapsack and a Walkman. At first she is in the third class carriage with soldiers and peasants who travel with their animals. Then she is invited to join Lady Windmere at her dinner table and in her private car. There is a German professor, Frau Muller-Vohwinkel, who travels with a Baedeker, the famous travel guide that she reads carefully, so that everything she sees has already been interpreted. And there is Fanny Ziegfield, a musical star from the nineteen thirties or forties of the great music halls. They are all on the train traveling in a linear path from West to East. Most of the travelers plan to go through Mongolia on the way to other destinations. Only Lady Windemere intends to remain in Mongolia, to continue her enthnographic studies. In addition to these characters, there is also a three woman entertainment troupe, the Kalinka Sisters. They are like a traveling Yiddish version of the Andrew Sisters. There is also a male character, Mickey Katz, who is a Yiddish tenor enroute to Harbin, China to meet up with its large Jewish community. While on the train he joins the other singers in presenting wonderful songs from music halls of the thirties and forties like those from New York's old Second Avenue. 　　The film is divided into three sections. In the first and last parts of the film, the action is on the train. These scenes were all shot in meticulously constructed sets made in the studio, even the glimpses of the passing outside landscape, as seen through the windows. I wanted the audience to truly see the artificiality of that construction. So, you catch a glimpse of a rip in the back wall of Lady Windemere's private car. But the rip is really a trompe l'oeil painting made by theatrical set painters. It signals this as an intentionally highly artificial presentation of the Western world. 　　In contrast, the central section of the film, when the train reaches Mongolia, was all shot on site, in the natural landscape. Here the train is stopped and the women travelers are kidnapped by a band of Mongolian tribeswomen, led by Princess Ulun Iga, who take them from the train to their seasonal encampment. Everything changes. In this nomadic landscape there is no linear path to follow. This goes also for the dramaturgy. The slow epic time of the Mongolians begins, with fairy tales, rhapsodic narration, and wonderful epopees--the old traditional songs in which they tell their whole history. It is an old dramaturgy as in Shakespeare--very simple, a skeleton that you fill with anything you wish. Like an epic, this is a space for the actualities, daily life, religious rituals, and so on of this largely female nomadic Mongol community. As relationships develop, we see various cultural confrontations between nomadic and settled cultures, between fiction and documentary, between the period costumes of the Europeans and the lavish traditional dress of the Princess and her retinue. 　　When I begin a new film, the inspiration, content, and style of the film comes from the place in which I start. Here it is Mongolia. I always like to change the point of view, to go around a theme looking at it from various perspectives and different points of view. This makes things more complex and a bit more difficult in a world where cinema is expected to be simply entertainment. Of course, I am not interested in this. Johanne d' Arc is an amusing film. But it is amusing on another level. It is a film about cultural misunderstandings, which can be quite funny. I have traveled a lot in other countries and learned a great deal about misunderstandings that I found highly interesting. It is important for me to talk about that. 　　The Critics: 　　"The whole film is a twin structure, cut through by doubles, repetitions, similarities and endless reflections. The images have a crease, established by the stories [...] In this way the Mongolian world casts a reflecting light on western customs and habits and cinema recommends itself as the instrument of investigation and the agent of old and new myths." -- Frieda Grafe, Suddeutsche Zeitung, April, 3rd,1989 　　"JOHANNA represents the fanciful attempt of a unique German filmmaker to explore the way extremely different cultures migrate and influence each other. The theme of the wanderer/outsider, carrier of diverse ideas, runs through all of Ulrike Ottinger's strikingly original films." -- Judy Stone, San Francisco Chronicle

影片表现的是亨利三世国王亲自策划刺杀吉斯公爵的故事。其中“血腥的暴行通过人们所最熟悉的故事来激动观众，即使不用语言，观众也能完全了解。”《吉斯公爵的被刺》“在电影艺术史上成为一部划时代的重要作品”，成为电影由杂耍向艺术过渡的重要标志，并给予格里菲斯等后来的电影导演以深刻的影响。 　　这部影片在电影艺术史上的意义在于：第一：它在演员的表演方面有很大的变革，首次进行了在银幕上表现人物的心理尝试，用人物的性格代替了电影中传统的手舞足蹈的动作。从这部影片成功以后，就开始了一个用名作家、名导演、高尚题材和富丽场景来拍摄影片的时代。第二：它第一次采用了圣·桑作曲的专门的伴奏音乐，包括序曲和为其中五个场面编配的五段音乐，每一段都配合影片情调。

影片表现的是亨利三世国王亲自策划刺杀吉斯公爵的故事。其中“血腥的暴行通过人们所最熟悉的故事来激动观众，即使不用语言，观众也能完全了解。”《吉斯公爵的被刺》“在电影艺术史上成为一部划时代的重要作品”，成为电影由杂耍向艺术过渡的重要标志，并给予格里菲斯等后来的电影导演以深刻的影响。 　　这部影片在电影艺术史上的意义在于：第一：它在演员的表演方面有很大的变革，首次进行了在银幕上表现人物的心理尝试，用人物的性格代替了电影中传统的手舞足蹈的动作。从这部影片成功以后，就开始了一个用名作家、名导演、高尚题材和富丽场景来拍摄影片的时代。第二：它第一次采用了圣·桑作曲的专门的伴奏音乐，包括序曲和为其中五个场面编配的五段音乐，每一段都配合影片情调。

Before "The Chaser", Na Hong-jin made a small name for himself with a string of acclaimed student films. The last of these, "Sweat", is a stylized mood piece about exactly what it proclaims. An experimental film at heart, there are nevertheless identifiable characters, and a skeletal quotidian narrative develops -- everyday life recorded by high-speed cameras in extreme close-ups. It doesn't have the serial-killer thrills of "The Chaser", but you might see hints of that film's stark visuals and draining physicality. 　　A beautiful piece of aesthetic work with sweat as a thread. But no one sweats for the same reasons. 　　This ode to sweat, in slow-motion shots with a rhytmic musical accompaniment, presents the daily cycle of a man (and a woman), which is at a certain level also a cycle of life.

Before "The Chaser", Na Hong-jin made a small name for himself with a string of acclaimed student films. The last of these, "Sweat", is a stylized mood piece about exactly what it proclaims. An experimental film at heart, there are nevertheless identifiable characters, and a skeletal quotidian narrative develops -- everyday life recorded by high-speed cameras in extreme close-ups. It doesn't have the serial-killer thrills of "The Chaser", but you might see hints of that film's stark visuals and draining physicality. 　　A beautiful piece of aesthetic work with sweat as a thread. But no one sweats for the same reasons. 　　This ode to sweat, in slow-motion shots with a rhytmic musical accompaniment, presents the daily cycle of a man (and a woman), which is at a certain level also a cycle of life.

谢尔盖·洛兹尼察是一位东欧历史的出色记录人。他的记录既涵盖了最近的事件，如《中央广场》（2014）中的乌克兰叛乱，也涵盖了更早的事件，如《国家葬礼》（2019）中的斯大林葬礼。他在展现过去时总是保持警觉，巧妙地运用档案素材，使观众仿佛成为现场目击者。在这部讲述1989年到1991年间，波罗的海国家立陶宛脱离苏联的影片中也是如此。这一以大量歌唱进行和平抗议的时期被称为"歌唱革命"。 　　作为独立运动的发起人之一，现年88岁的维陶塔斯·兰茨贝吉斯当时处于历史剧变的中心。借助大量关于示威活动、党代会和苏联军事干预的档案素材，他富于洞察力的思考得到补足。冗长的档案片段见证了在通往自由的道路上，兰茨贝里斯和他的同胞们所需要付出的耐心。这是一堂关于苏联解体的细致而引人入胜的历史课。 　　本片获IDFA竞赛单元最佳影片奖、最佳剪辑奖。