Secvente(Sequences, reffering to film sequences) is Alexandru Tatos' quintessential film and one of the stepping stones of Romanian cinematography. Sadly, although being a critics and directors favorite ever since it's release, Secvente never managed to find a wide audience, mostly due to the limited distribution the film received during it's initial run in the communist years. This huge injustice was disappointingly never corrected and unless word doesn't spread over this uniquely original gem of Romanian Cinema, Secvente will most surely never reach the following it deserves. 　　Secvente is structured in 3 merely related parts, all concerning sequences of a fictional film that is being shot by Alexandru Tatos, Florin Mihaileanu and the rest of the crew, the film, surprising moments of the crews life both on and off set, in the vein of other fourth wall breaking features of world cinema such as Truffaut's La nuit Americaine and the films of Jørgen Leth. In fact it's impossible to tell whether a fourth wall exists during the entire movie, as the haunting sensation that the characters may jump off and start a fight in your living room dominates the final climactic sequence, a sequence that may well contain the only piece of pure Romanian humor the Cinema was ever able to preserve during those years.

Like the art cinema of David Lynch or Luis Bunuel (not to mention Harrington's most immediate influence/mentor, the long-venerated celluloid poet Maya Deren, whose 1943 short Meshes of an Afternoon clearly turned the budding filmmaker Harrington on to the medium's wider-than-imagined possibilities), Harrington's films aren't abstract so much as they, very much like a dream (the closest experience to cinema real life offers, and offered long before movies ever existed), consist of narratives with recognizable, "real" human figures and places where some kind of story is happening, except with a disconcerting adherence to their own unpredictable, irrational internal logic and sign systems. In 1946's 13-minute Fragment of Seeking, his first completed work as a mature filmmaker, a twentysomething Harrington himself appears as the bespectacled, fedora'd, trenchcoat-clad, faintly androgynous (he resembles Truman Capote a bit) young man who, when he enters through an imposing gate into the courtyard of a beautiful old ivy-covered L.A. apartment building, is captivated and led ever deeper into a mysterious realm (like Alice down the rabbit hole) by a girl who, with her Veronica Lake blonde tresses, is ravishing enough to be a starlet. As he watches and pursues her through the walkways and corridors around and inside of the building, what at first looks like voyeuristic flirtation becomes a journey into the young man's own deepest fears and desires -- a gorgeous and terrifying pulling back of the veil of surface reality for a glimpse of both his true self and that too-close-for-comfort Freudian link between sex and death. Like all of this early work, the film is more or less silent-with-score (by Ernest Gold, whose music is fantastically cinematic and integral to setting the mood of many of these these moody pictures), and Harrington uses no effects any more special than the skilled, inspired manipulation of shadow and light and a very finely honed intuitiveness at the editing table to create a world as convincing and vivid as it is removed from realism -- one with a lush, eerie atmosphere fraught with allure, suspense, danger, and dread.

Like the art cinema of David Lynch or Luis Bunuel (not to mention Harrington's most immediate influence/mentor, the long-venerated celluloid poet Maya Deren, whose 1943 short Meshes of an Afternoon clearly turned the budding filmmaker Harrington on to the medium's wider-than-imagined possibilities), Harrington's films aren't abstract so much as they, very much like a dream (the closest experience to cinema real life offers, and offered long before movies ever existed), consist of narratives with recognizable, "real" human figures and places where some kind of story is happening, except with a disconcerting adherence to their own unpredictable, irrational internal logic and sign systems. In 1946's 13-minute Fragment of Seeking, his first completed work as a mature filmmaker, a twentysomething Harrington himself appears as the bespectacled, fedora'd, trenchcoat-clad, faintly androgynous (he resembles Truman Capote a bit) young man who, when he enters through an imposing gate into the courtyard of a beautiful old ivy-covered L.A. apartment building, is captivated and led ever deeper into a mysterious realm (like Alice down the rabbit hole) by a girl who, with her Veronica Lake blonde tresses, is ravishing enough to be a starlet. As he watches and pursues her through the walkways and corridors around and inside of the building, what at first looks like voyeuristic flirtation becomes a journey into the young man's own deepest fears and desires -- a gorgeous and terrifying pulling back of the veil of surface reality for a glimpse of both his true self and that too-close-for-comfort Freudian link between sex and death. Like all of this early work, the film is more or less silent-with-score (by Ernest Gold, whose music is fantastically cinematic and integral to setting the mood of many of these these moody pictures), and Harrington uses no effects any more special than the skilled, inspired manipulation of shadow and light and a very finely honed intuitiveness at the editing table to create a world as convincing and vivid as it is removed from realism -- one with a lush, eerie atmosphere fraught with allure, suspense, danger, and dread.

玻璃玩偶动画。制作玻璃艺术品的艺人受到窗外雨滴的启发，他仿佛看到舞者和一个不高兴的小丑在自己创作出的水晶王国中起舞。

玻璃玩偶动画。制作玻璃艺术品的艺人受到窗外雨滴的启发，他仿佛看到舞者和一个不高兴的小丑在自己创作出的水晶王国中起舞。

一次偶然的相遇让两个男人联系到了一起，观众们将从头到尾感受一系列有关他们的小场景。 评论：这是独立制片人Todd Verow最好的（也是最性感的）作品之一，紧张而零星的讲述了一种复杂的关系。夏日纽约，30几岁的Sean在一个西部小村子的码头遇见了从东欧移民过来的Wolf。这看似美妙的开端，最后发展成一种强烈却不正常的关系。Wolf是一个表现的像异性恋的爱财之人，Sean是一个贫穷而且叽叽喳喳的神经质，这么两个看似不搭的人却尝试着在一起。当Sean变得极度担忧他另一半的频频缺席时，他的妄想症被嗑药唤醒了，这危及到了他们新生的爱情。他们将能否化解两人之间的矛盾而成为情侣，又或者这整个过程仅仅只是一次过度的性爱放纵？整部电影表现的很直白，但Verow在影片中添加了额外的角色、旁白，甚至是一个开放式的结局！

一次偶然的相遇让两个男人联系到了一起，观众们将从头到尾感受一系列有关他们的小场景。 评论：这是独立制片人Todd Verow最好的（也是最性感的）作品之一，紧张而零星的讲述了一种复杂的关系。夏日纽约，30几岁的Sean在一个西部小村子的码头遇见了从东欧移民过来的Wolf。这看似美妙的开端，最后发展成一种强烈却不正常的关系。Wolf是一个表现的像异性恋的爱财之人，Sean是一个贫穷而且叽叽喳喳的神经质，这么两个看似不搭的人却尝试着在一起。当Sean变得极度担忧他另一半的频频缺席时，他的妄想症被嗑药唤醒了，这危及到了他们新生的爱情。他们将能否化解两人之间的矛盾而成为情侣，又或者这整个过程仅仅只是一次过度的性爱放纵？整部电影表现的很直白，但Verow在影片中添加了额外的角色、旁白，甚至是一个开放式的结局！

表面看来，天海响（木户衣吹 配音）是一位温柔贤惠的平凡高中女生，可实际上，从很小的时候起，响便有着远远高于常人的灵力，时常能够看见他人肉眼看不见的灵体。可以这么说，响是在幽灵的陪伴下渐渐长大的。 　　忠诚的武士代返侍（川原庆久 配音）、孤单的花子（井泽美香子 配音）、神出鬼没的背后灵梅莉（松井惠理子 配音）、从里到外都是十足不良少女的辣妹灵（内田彩 配音），这些飘忽不定的幽灵们给响的生活带来了别样的色彩，却也替彩惹出了一大堆麻烦。井上成美（伊藤美来 配音）是响的同班同学，个性大大咧咧的她却独独害怕幽灵，坚定的认为世间不可能存在幽灵的成美，在遇见响之后，人生观开始产生了动摇。

有着灵感体质的女高中生天海响，身边总是聚集着很多的灵，它们和围在天海身边的愉快伙伴们一起演绎出有笑有泪的治愈系喜剧。

这一系列的影片，按照巴哈六部无伴奏大提琴组曲的顺序编列，第一部是跟女性的园艺设计大师茱莉摩尔梅瑟薇合作的「音乐花园」。波士顿市政府准备在市中心建造一座花园，但是设计的创意却要用巴哈的音乐来衍生灵感，并且聘请马友友担任顾问。他们为了追寻灵感，跑遍了波士顿与多伦多，我们看到他们相互激荡的全部过程，令人耳目一新。第二部是由「顾尔德的32个短篇」导演法杭梭杰厄德执导的「建筑的声音」。十八世纪的义大利建筑大师乔望尼所设计的城堡，竟然被一片片的拼凑成巨大的版画，透过电脑3D的虚拟动画，完美的呈现於我们眼前，而马友友也洒脱的与这「古老」的建筑合而为一。这部影片，获得了「最杰出特殊视觉效果」的艾美奖。