退伍美国大兵David （High School） Flannigan回到家乡跟妹妹Martha Flannigan一起生活，并当汽车修理员维生。他的整副心思仍留在越南战争的记忆中，因此变得沉默自闭。老战友Joseph9(Jacknife) Megessey来探望他，跟David的妹妹擦出了爱情火花，与此同时，则尽让David勇敢面对隐藏在脑海深处的战争创伤，好让他早日解除心结恢复正常。

退伍美国大兵David （High School） Flannigan回到家乡跟妹妹Martha Flannigan一起生活，并当汽车修理员维生。他的整副心思仍留在越南战争的记忆中，因此变得沉默自闭。老战友Joseph9(Jacknife) Megessey来探望他，跟David的妹妹擦出了爱情火花，与此同时，则尽让David勇敢面对隐藏在脑海深处的战争创伤，好让他早日解除心结恢复正常。

What if your home becomes a place you fear? Ahmaied, an Iraqi father returns to Fallujah to face the threat of improvised explosive devices. Join him in his home and discover the unfolding of a tragic event. As you follow his story, the narrative takes a shocking turn. An unfortunate truth looms in the space – the death of Ahmaied’s sons by a booby trap. Ironically, while he was concerned about his home being safe, his sons died in an incident in another home just around the corner. You experience the explosion in first person. As you wind down from this climax, you hear Ahmaied speak of his loss and his hopes for his family, country and the world.

前苏联的芭蕾舞者搭上一驾被劫往苏联的飞机，飞机落地后，他被软禁在一栋公寓之中，公寓里住着一位黑人和他的俄籍妻子，他被迫再次担任波修瓦芭蕾舞团的舞者，他一心只想逃…… 　　该片是关于一个俄罗斯舞蹈艺术家的传奇故事，男主演、俄罗斯著名芭蕾舞演员巴希利科夫的舞蹈精彩得让人窒息，催人肝胆——那是一个聚光灯下的白夜，一样的无日无夜、无边无际、无始无终，一种精神病人眼中的灰，只有一个满台奔跑的旋转的影子是其中的亮点 。巴希利科夫抠眉凹眼，有着自然卷曲的金发，不高但结实的身材，他有一种天才式的激情和技能，以及超乎常人的快速旋转能力，无论腾空于任何位置，落地时都不会失去他的平衡……。影片中不仅可以看到巴希利科夫令人心动的表演，还可以看到伊莎贝拉·罗塞里尼这 位著名影星英格丽·褒曼之女的秀丽面庞。而由著名黑人歌星Lionel Richie演唱的影片插曲《Say you, Say me》，更是脍炙人口闻名于世，获得1985年第58届奥斯卡最佳电影歌曲奖。 　　为追求艺术上的自由，享誉国际的苏联芭蕾舞演员尼古拉·德罗钦科在八年前以政治避难为由逃到了美国。一次，在前往日本表演时，发生了故障的飞机被迫降落到了苏联的西伯利亚空军机场上。苏联方面将飞机上的其他人全部放行，独独将尼古拉留下，以此向国内外表明叛逃者又改变了政治信仰，回归了祖国。为感化尼古拉，克格勃切伊科上校找来为抗议美国侵略越南而逃到苏联的美国踢靼舞演员雷蒙德·格林伍德。由于不能理解对方为什么要逃离自己的国家，尼古拉和雷蒙德间产生了敌对和抵触的情绪，在增进对对方的了解后，双方才逐渐友好起来。尼古拉同意回到以前工作的基洛夫芭蕾舞团，其目的是为了找机会再次出逃。雷蒙德的立场发生了转变，他成功地掩护尼古拉逃离了苏联，自己却被抓了起来。雷蒙德被当作人质，同另一名被捕的苏联间谍交换，回到了美国。 　　这部反苏倾向的冷战片是好莱坞出品的具高度技巧的影片，故事虽然老套，却很吸引人：一个苏联叛变者逃到了西方，而一个美国叛变者因理想的破灭又逃到了苏联。“白夜”是一个隐喻，既指苏联北回归线以北的太阳长年不落的地区，也可喻指一个真实的发生在白天的噩梦，正因为格外得明亮而荒谬，所以才格外得恐怖。从苏联叛逃的芭蕾舞演员米哈伊尔·巴雷什尼柯夫扮演了片中的尼古拉·德罗钦科，他出逃的动机同他扮演的角色相似：是为了艺术的自由。看来，艺术家必须在祖国和艺术间作出抉择。虽然此片不是他的自传，但米哈伊尔以源自相似经历的内心共鸣将这一角色演绎得生动自如、令人信服

Considered to be the first animated Soviet film, Soviet Toys was made by the acclaimed documentary film director Dziga Vertov. It is based on political caricatures by V. Deni which appeared in the newspaper “Pravda.” Russians refer to the ornaments on their New Year’s trees as “toys.” 　　After the Revolution and the Civil War, Russia was in financial ruin. To jumpstart the economy, Lenin introduced the New Economic Policy, a form of limited capitalism. NEP successfully revived the economy, but there was much resentment among the party faithful of the NEP-men who became wealthy and lived lavishly. 　　Irina Margolina (documentary filmmaker): Vertov did this film to advertise the production abilities of the new advertising agency/filmmaker Goskino, for whom he had just gone to work (the organization’s phone number and address appear in the film).

“It is a film from an extended series. It is hard to say who is the main character of “The Soviet Elegy.” There are more than a hundred faces of our compatriots. But, of course, it is not by chance that it is the destiny of a famous political figure, Boris Nikolayevitch Yeltsin, that bears a special accent in the film. Though he got to power following quite typical ways, his uncommon character puts him out of the ordinary, and in the author’s opinion it may be determined by his uncommon human nature. Our hero exists within the tragic pattern of the soviet socialist life. He is a character of a drama, of which he is one of the authors. “The Soviet Elegy” can hardly be called a documentary film in the proper sense. Of course, the author guarantees the accuracy of chronology, but he insists on an artistic mode of thinking, not on a political or historical investigation.”

影片讲述了一代勇敢而美丽的人，他们没有看到革命的破坏和内战的混乱，他们梦想建立一种新的生活，在这种生活中没有死亡，只有不可思议的爱，这种爱为他们开辟了通往伟大成就和发现的道路。关于那些在天堂和人间都是英雄的人的功绩和荣耀、背叛和忠诚。他们短暂而光明的一生经历了巨大的考验。关于一个女人，她是苏联的梦想和真爱。

Lost and Found is a film project for which six young filmmakers from Central and Eastern Europe have each developed a short film on the theme of generation. Together, these six short films make a whole cinema evening. Unique thereby is the selection of young directors, who are currently among the most talented in the Central and Eastern European region. Also special is that five of the short films (four short narrative films and one short documentary) are visually framed by an independent animation story. The filmmakers made their films with local producers in their home countries; postproduction was carried out in Germany. The theme generation is the thread running through the whole film. It mirrors a new selfunderstanding of young filmmakers in Central and Eastern Europe. Traditions and national history are viewed in a new way and cinematically narrated. The concept of generation was not intended to neutralize the differences between the countries, but to create a fascinating frame for comparison. The stories were written in accordance with this thematic guideline especially for this project. Partner countries in Central and Eastern Europe were selected that have their own film culture, but in which available production structures are meager, due to economic and/or political developments. 　　"Lost and Found" was initiated by relations, an initiative project of the Kulturstiftung des Bundes (German Federal Cultural Foundation), which develops and fosters art and culture projects in various countries in Eastern Europe and Germany. 　　Short films are often more difficult to script and direct than full-length features. Not only must the message be as poignant as in a mainstream movie, but it must also be conveyed succinctly in a tight period of time. 　　Lost And Found showcases five new shorts from Eastern Europe, each as entertaining, fresh and inspiring as the one before. There is also a sixth, Gene + Ratio, which runs intermittently between the others, that can be viewed as its own piece, or as a link between the featured shorts. 　　Gene + Ratio deals with the need for water, or a thirst of some sort. Alternately featuring insects, possibly fleas, and a filthy looking feline, it serves well merging the other shorts into one piece. On its own, it is rather disturbing and baffling, in particular the clip where a tiny man is licking the camera lens, which turns into a cat lapping up a saucer of milk. It is almost enough to make you feel violated. There is also a bath sequence, involving the cat and its mistress... let's just say it makes Paris Hilton's nude photo shoot with her dog covering her unmentionables look like a Jane Austen book cover. The film is strange enough to be compelling, yet is in danger of being ignored as the audience take this opportunity to recover from the previous short and prepare themselves for the next. 　　The Ritual is a lovely depiction on the theme of generation, marriage and children. Goeshe is Bulgarian, but marrying a French girl. His parents are preparing for the wedding party and are determined to give him the best reception he could wish for. Sounds of the younger world are transposed into the older, making for a beautiful film which shows that both old and new can live in harmony. What is a pleasant surprise is that the younger couple strives to make the in-laws happy in as much as the parents attempt to give their son the best, which is a delightful change from Hollywood blockbusters, where there is either a monster-in-law, or an upstart sibling who doesn't care what parents think. This is the only short, I believe, to use two languages. It is a pleasure to watch. 　　Turkey Girl is my favourite of the collection. It manages to combine light comedy with themes of growing up and letting go - the very essence behind the idea of Lost And Found. Tatiana is a girl who must bribe her mother's doctor so that he gives his patient a second operation. It is difficult enough to know how much to offer, or hold back, how to fold the money, which pocket to keep it in. Her father also tells her to butcher her favourite pet and friend - a turkey - as an offering. For her mother's sake, Tatiana knows that she must do this, but as she tells her boyfriend (whom she is "just friends with", by the way), this is no ordinary turkey. He can tell the difference between a circle and a square. Turkey Girl will appeal to animal activists, philosophers, teenagers emerging fresh from puberty, or anyone who has ever had to make a sacrifice 　　Birthday is part documentary, part exploration of childhood innocence. It focuses on two girls on either side of the destroyed bridge at Mostar. Dunja loves strawberry ice cream and goes to a Muslim school, where she is taught that when the birds sing they chant their praises to Allah. Innes likes the colour pink and goes to a Catholic school that has no Bosnian children in it. Both girls love Jennifer Lopez. They are interviewed on similar subjects - why Mostar is divided into an east and a west (neither really understands) and the obvious point of the story is well put: these girls have birthdays a day apart and if they ever met would be indistinguishable. Since it is unlikely to happen, while they are still children, the camera poses as their Yugoslavian bridge. Presented in a light fashion, taking on the after-effects of the Bosnian war, this is a rueful examination of the way in which society inflicts its own differences within itself. 　　Shortlasting Silence is the darkest of the five. It conveys themes of loneliness, suicide and incest in a story of a man going to visit his dead mother. It is done so tastefully that all the audience should feel is a shiver at the sinister atmosphere created when the psychologist is the victim of his own making. There is an unsettling empathy for the protagonist, who knows all the advice to give and yet cannot take it himself. There is a definite potential for this to develop into a feature film, as its themes, though well portrayed, are yet to be fully explored... but perhaps that is our role as the audience. 　　Fabulous Vera begins with a shot of an incredibly bored woman on a tram. This is essentially Vera's difficulty. She's past middle-age, the man she loved left her, her daughter is emigrating to Cuba with a lover she has known barely three days and she must smile constantly at passengers on trams asking whether they would like to purchase tickets. Her boredom is juxtaposed with that of a policeman, sitting in his car, with so much time on his hands that he can afford to finish the embroidery started by his late wife. Milena Dravic performs well, particularly when Vera hijacks her own tram and puts her foot down, taking her life up a gear, and, when the brakes don't work, finding herself unable to stop, as she spirals out of control. This comedy examines the trouble with mid-life crises and the wonder of second youth. 　　These shorts are fantastic. Although my favourite is Turkey Girl, each are so appealing it is difficult to chose.

1991年，VGIK导演Juris Podnieks拍摄了系列纪录片《苏联人》以纪录苏联解体前社会的诸多现象。 　　"Soviets" gives immediacy to the economic, political, religious and ethnic dema nds now roiling the country. It offers inspiration in th e form of people standing up to state power, but leaves little prospect for a quiet resolution to the clashing passions that have been unloosed by the first breaths of freedom.

1991年，VGIK导演Juris Podnieks拍摄了系列纪录片《苏联人》以纪录苏联解体前社会的诸多现象。 　　"Soviets" gives immediacy to the economic, political, religious and ethnic dema nds now roiling the country. It offers inspiration in th e form of people standing up to state power, but leaves little prospect for a quiet resolution to the clashing passions that have been unloosed by the first breaths of freedom.