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.

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！

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.

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.”

映画では、数多くのラジオ番組に投稿し“伝説のハガキ職人”と呼ばれたツチヤの半生が描かれる。

映画では、数多くのラジオ番組に投稿し“伝説のハガキ職人”と呼ばれたツチヤの半生が描かれる。

《Gagman》是一部有关劫案的动作喜剧，在片种及旁白的处理手法也极为崭新，李明世更巧妙地将主角电影意念融入于电影之中，成为一部难得的「戏中戏」作品。Lee Jong Sae (安圣基饰)失意于谐星表演，更不能完他的导演梦。他一直只有向理发师Mun Do Sok (Bae Chang Ho 饰)诉苦，Do Sok虽然曾希望自己当上演员，然而他就如Jong Sae一样，对前途不抱寄望。一天，他们遇上了失意却美丽动人的女艺人 Oh Son Yong (Hwang Shin Hyae饰)，她表示希望开拍一齣有关劫案的新浪潮电影，因此，此片让叁人陷入现实生活中万劫不复的劫案之中…… 　　幕后： 　　被外界评论为「韩国新电影的领军人物之一」、曾执导《Duelist》、《强捕》的李明世(Lee Myung Se)，他的首部电影《Gagman》DVD终于重生面世！继1987年为名导演裴昶浩 (Bae Chang Ho)为助理导演的《Our Sweet Days of Youth》，李明世再次夥拍男女主角于翌年拍出他的首部个人作品《Gagman》。 　　李明世，1957年8月21日出生于韩国汉城。高中时李明世开始对电影产生浓厚的兴趣。在汉城艺术学院修了两年的电影制作课程之後，他作为编剧和导演助理开始进入电影界。他曾经多次与裴昶浩导演合作，後者则在李明世1988年首部执导的电影中参与演出作为回报。他的第二部长片电影稳固了他作为导演的地位，为他在国内赢得了无数荣誉和奖项，并开创了「性战戏剧」的流派，为他在韩国电影界树立了主导地位。他的第叁部电影则颇具争议，在韩国的票房也不是很成功，但是越来越多的影评人开始关注这位导演，并认为他是韩国近年来不可多得的电影人才。

家庭团建旅行真人秀节目。节目以武艺一家为核心纽带，用自驾开启一场贯穿整季的“真·家族诞生之旅”，邀请好友家庭共同参与，在展现真实家庭的互动与趣味对抗的同时，通过家族PK为更多的赛博家人们赢取旅行基金。 　　《搞笑艺家人》希望以武艺一家的家族旅行打样，带动身边的好友家庭参与进来，进而再辐射到更广大的观众家庭，都能通过家庭旅游收获更多的欢乐。带家人出去旅行度假，不是每个人都能做到。但周末与家人在周边小聚，人人均可复制。陪伴可以不用等有时间，这个周末就出发！