在未来一个虚拟的维多利亚时代，一次灾难性事件毁灭了文明，数千年后，人类已经适应，并进化出了新的生存方式。经历了战争的洗礼，海陆空的全新城市诞生，伦敦城是其中至高无上的存在。它化身为钢铁巨兽，疯狂地掠夺与吞噬小城市，为了抵抗伦敦城的侵略，反牵引联盟齐心协力，迎接一场殊死之战。汤姆·纳茨沃西 （ 罗伯特·席安 饰）来自大牵引城市伦敦的低层，遇到了逃犯赫斯特·肖 （ 海拉·西尔玛 饰）后，他们不得不开始为生存而奋战。两个截然相反，本不该相遇的人，却意外结盟，他们注定将改变未来 。

一次灾难性事件毁灭了文明，数千年后，人类已经适应，并进化出了新的生存方式。如今，巨大的移动城市在地球上漫步，无情地吞噬着小牵引城镇。汤姆·纳茨沃西（罗伯特·席安饰），来自大牵引城市伦敦的低层，在遭遇了危险逃犯海特·肖（海拉·希尔莫饰）后，不得不开始为生存而奋战。两个截然相反，本不该相遇的人，却意外结盟，他们注定将改变未来。

故事发生在比较久远的未来，可怜的地球几经核战争的蹂躏，所谓的人类文明几乎要毁灭殆尽。又过了许多年之后，废墟上幸存的人们，渐渐适应了全新的环境，…

One man's dreams are answered with troubling realities in this downbeat drama from expatriate American filmmaker and activist Robert Kramer. Ben, a man from an unnamed Middle Eastern nation, left his homeland in his youth and went to France in hopes of making a better life for himself. Hardly finding immediate success or an open welcome in his new land, Ben found himself working a series of menial, back-breaking jobs, while trying to send as much money as he could to his family at home. In time, he saved enough to open his own business, and rose to a modest level of success as he watched over his fruit market, got married, and started a family. But Ben's small success is built on shaky ground. When he gets word that his mother has fallen into difficult circumstances, he goes home to visit her. Upon his return, he discovers that his business has collapsed in his absence, and his wife has left him; fate becomes even more cruel when an accident robs him of his sight. Cites de la Plaine was the final feature from Robert Kramer; the film debuted at the 2000 Cannes Film Festival, several months after Kramer passed on while completing the final edit.

One man's dreams are answered with troubling realities in this downbeat drama from expatriate American filmmaker and activist Robert Kramer. Ben, a man from an unnamed Middle Eastern nation, left his homeland in his youth and went to France in hopes of making a better life for himself. Hardly finding immediate success or an open welcome in his new land, Ben found himself working a series of menial, back-breaking jobs, while trying to send as much money as he could to his family at home. In time, he saved enough to open his own business, and rose to a modest level of success as he watched over his fruit market, got married, and started a family. But Ben's small success is built on shaky ground. When he gets word that his mother has fallen into difficult circumstances, he goes home to visit her. Upon his return, he discovers that his business has collapsed in his absence, and his wife has left him; fate becomes even more cruel when an accident robs him of his sight. Cites de la Plaine was the final feature from Robert Kramer; the film debuted at the 2000 Cannes Film Festival, several months after Kramer passed on while completing the final edit.

根据Paul Cleave的小说《清掃魔》（The Cleaner）改编。

改编自Paul Cleave的小说《清掃魔》（The Cleaner）。

At 17:00 every day, Andrew, a middle-aged man, drives home from work through Melbourne’s outer suburbs in peak-hour traffic. Occasionally, he offers a lift home to a younger colleague, David. Over a year, their tentative small talk gives way to a warm friendship and open conversation within the confines of the vehicle, incrementally revealing their lives. 　　One may wonder what a three-hour film, set almost entirely in a car and shot with a fixed camera from the back, can deliver? The answer is an unexpectedly engaging and entertaining observation of the rhythms of daily life, and a catalogue of suburban worries. In sensorial terms, The Plains charts the passage of time as the seasons change. The pitter-patter of rain and the familiar cocoon of the car provide a sense of comfort and safety from the outside elements. The car is the liminal space between work and home, as the day is pondered, the night planned. Documentary elements exist beyond the windscreen, as a fiction courses through the vehicle. The Plains is a road movie unlike anything you have seen before.

At 17:00 every day, Andrew, a middle-aged man, drives home from work through Melbourne’s outer suburbs in peak-hour traffic. Occasionally, he offers a lift home to a younger colleague, David. Over a year, their tentative small talk gives way to a warm friendship and open conversation within the confines of the vehicle, incrementally revealing their lives. 　　One may wonder what a three-hour film, set almost entirely in a car and shot with a fixed camera from the back, can deliver? The answer is an unexpectedly engaging and entertaining observation of the rhythms of daily life, and a catalogue of suburban worries. In sensorial terms, The Plains charts the passage of time as the seasons change. The pitter-patter of rain and the familiar cocoon of the car provide a sense of comfort and safety from the outside elements. The car is the liminal space between work and home, as the day is pondered, the night planned. Documentary elements exist beyond the windscreen, as a fiction courses through the vehicle. The Plains is a road movie unlike anything you have seen before.