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.

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.

本系列探讨弗洛伊德精神分析学说对20世纪的巨大影响。 　　美国特纳出版公司最近出版的《20世纪人类全纪录》，把1900年西格蒙特·弗洛伊德《梦的释义》的出版作为20世纪的开端。这决不是别出心裁，而是把精神分析理论的问世当作一个划时代的标志，从此人类对自身的探索进入了一个新阶段，所以有些西方学者把20世纪称之为"精神分析的世纪".《梦的释义》出版100年来，人们对精神分析学说毁誉参半，研究弗洛伊德的着作就达几千部，特别是许多思想大师都对弗洛伊德做出了评价，这就使人们常常戴着大师们的眼镜去看待弗洛伊德，由此产生了一些"错误认同".正如当代意大利哲学家恩贝托·埃柯（UmbereoEco）所说，马可波罗在爪哇把犀牛认作独角兽，这种错误认同产生的原因在于"他正是他的"背景书籍"的牺牲品。"①经过100年的洗礼，弗洛伊德的思想价值不但没有减弱反而增强了。因此要摆脱以往人们对弗洛伊德的错误认同，强调个人对弗洛伊德原着的特殊理解，并把这种理解与当代学术界的研究成果结合起来是十分必要的。首先，弗洛伊德不仅是一个精神病专家，更重要的是，他作为一个人文科学思想家在历史上留下了宝贵的精神财富。 　　弗洛伊德从人类心理冲突的角度去关照潜意识的产生与作用。因此，他的发现不仅意味着医学的进步，还打破了人类思想与生活中的许多假象，扩展了人类对精神生活的感知，并以不能再视而不见的事实描述出潜意识这种复杂而真实的人文现象。他对梦的层层揭示触及了人类精神世界最难以接近的部分。他对导致人的梦境的潜意识的分析引导着人类更透彻地了解了自己——20世纪达利的绘画、劳伦斯的小说、希区柯克的电影、马勒的音乐，弗洛伊德对生命潜意识的透视在几乎所有人文领域里都留下了深刻的印记。 　　当弗洛伊德80岁诞辰来临之际，全世界200多位科学艺术家致信祝贺，他们说：“如果世间有什么行动可以被永远铭记的话，那就是对人类心灵的洞察。” 　　弗洛伊德，“有史以来第一位正视人类心灵问题的人”。

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！

故事发生在贝尔格莱德的郊区，一位名叫亚丝娜（伊斯多拉·西姆乔诺维奇 Isidora Simijonovic 饰）的女孩生长在那里。亚丝娜的家境十分贫寒，父亲身患绝症，母亲无能为力。亚丝娜对此毫不在意，她的心思，全都放在学校里一个名为迪约勒（Vukasin Jasnic 饰）的男生身上。 　　亚丝娜喜欢用手机拍摄下周围的一切，她希望自己平凡的青春能够在镜头之后留下哪怕是一点点的踪迹。在一场盛大的派对中，亚丝娜终于找到机会接近迪约勒，两人天雷勾地火，打得火热。迪约勒当然知道亚丝娜对自己的爱慕，在他眼中，亚丝娜不过就是一个可供他发泄性欲的玩具罢了，但是亚丝娜想要的，可比这多得多。

As described by Lars Von Trier in the director's commentary (not included). "We made a test…some months before we shot the film just to see how we wanted it to look. To decide where we were going with the sound and if we could use…a realistic sound to this very non-realistic image. If you have so few props you have to decide which ones are going to be there and why. There are a lot of decisions when you minimize things.”

这部电影是法国艺术家和作家阿兰·弗莱舍拍摄的纪录片。通过让-吕克·戈达尔与其他影人、历史学家和理论家的一系列访谈，描述出他的形象。戈达尔展现了他对历史、政治、电影、图像和时间以及艺术实验的想法。在这部对话影片中，他从各个方面表达了自己的观点，比如"时间"和“影像"的关系等等。

Six unused scenes from WHERE LIES YOUR HIDDEN SMILE? One of the more priceless of the "bagatelles" in this collection features a lounging Jean-Marie Straub who gives a non-stop disquisition on liberty and filmmaking while Danièle Huillet busies herself with laundry, and their dog Melchior frisks in and out of frame.

Route 181, offers an unusual vision of the inhabitants of Palestine-Israel, a common vision of an Israeli and a Palestinian. 　　In the summer of 2002, for two long months, Eyal Sivan and Michel Khleifi travelled together from the south to the north of their country of birth, traced their trajectory on a map and called it Route 181. This virtual line follows the borders outlined in Resolution 181, which was adopted by the United Nations on November 29th 1947 to partition Palestine into two states. 　　As they travel along this route, they meet women and men, Israeli and Palestinian, young and old, civilians and soldiers, filming them in their everyday lives. Each of these characters has their own way of evoking the frontiers that separate them from their neighbours: concrete, barbed-wire, cynicism, humour, indifference, suspicion, aggression…Frontiers have been built on the hills and in the plains, on mountains and in valleys but above all inside the minds and souls of these two peoples and in the collective unconscious of both societies. 　　Route 181, Fragments of a Journey in Palestine-Israel, takes us on a disorientating journey across this tiny territory with vast ramifications.