From the Staffordshire hills to the Humber estuary, spirited explorer Tom Fort embarks on a 170-mile journey down Britain's third longest river, the Trent. Beginning on foot, he soon transfers to his own custom-built punt, the Trent Otter, and rows many miles downstream. Along the way he encounters the power stations that generate much of the nation's electricity, veterans of the catastrophic floods of 1947, the 19th-century brewers of Burton and a Bronze Age boatman who once made a life along the river.

大峡谷Grand Canyan位于美国亚利桑那州西北部科罗拉多河中游、科罗拉多高原的西南部，是地球上最为壮丽的景色之一，由深邃的山谷所夹峙，分成南壁与北壁两部分。南壁因交通方便，也有旅社等设施，而且在冬季雪期，仍能欣赏天然奇景，因而成为观光大峡谷的中心。 　　自冰河时代开始，直到今天，在无数世纪间，科罗拉多河不断地侵蚀大地，终致形成这一大峡谷，长度达347公里。该峡谷起于马布尔峡谷，终端为格兰德瓦什崖，全长446公里，是世界上最长的峡谷之一。峡谷顶宽6至28公里，最深处1800米。从谷顶到谷底需3至4小时。谷底两岸的宽者小于1公里，窄处仅120米。两侧的谷壁呈阶梯状。谷底水面不足1000米宽，夏季冰雪融水下注，水深增至18米。山石多为红色。从谷底至顶部沿壁露出从前寒武纪到新生代各期的系列岩系，水平层次清晰，岩层色调各异，并含有各地质时期代表性的生物化石，故有“活的地质史教科书”之称。 　　而今天，由于我们人类的过度开发，我们的地球濒临干涸，因为这颗星球上很多纯净的水资源正在以我们无法想像的速度大肆流逝。科罗拉多河，这条美国最具代表性的河流，大峡谷的骄傲杰作，世界首选的旅游胜地，就让它的故事来告诉我们如何拯救这个危在旦夕的星球，如何应对世界水短缺吧。

奥德赛为了听到塞壬之歌，而坚持航行至未知海域的故事，在今天是无法发生的。地理、气候、地质等一系列自然知识的完备，已经封锁了人类带着好奇在一个混沌世界游荡的可能。被准确刻画在地图上的陆地、海洋、岛屿、山脉似乎宣布了某些原始神秘性的死亡。 　　这部短片试图重启个人对于风景的探索，犹如反时代的堂吉柯德之旅，逆行而上地记录了摇曳于现实和想象之中的神话母题。一切已经被证明的知识，那些关于海洋与陆地的对立，都可能被属于个人的影像推翻并重构，世界的暗语隐藏在彼此并不相关的两极之中。而开启这一切的，很有可能只是一个个人生命中，意外的动荡事件。

作过一次临时演员后，小康（李康生）罹患歪脖子的怪病，父亲（苗天）带其四处求医。 　　父亲虽已有妻、子，却是贪恋年轻男孩身体的同性恋者，家庭对他早已名存实亡，已丧失承担责任的能力（或认为并没什么责任要承担），可是对于小康，他又不自觉扮演起传统意义上的“父亲”角色，却也只能是失职的。小康是年轻的同性恋者，可是却并不清楚自己期望从同性处获得怎样一种安慰，父母的貌合神离不但令他对男女关系失掉信心，对同性关系的理解也盲从地认为只是两具肉体的短暂吸引、结合。而作为被丈夫（同时代男人）与儿子（更年轻的男人）同时冷落的母亲（陆筱琳），则只能默默忍受肉体与精神的双重饥渴与孤独。

作过一次临时演员后，小康（李康生）罹患歪脖子的怪病，父亲（苗天）带其四处求医。 　　父亲虽已有妻、子，却是贪恋年轻男孩身体的同性恋者，家庭对他早已名存实亡，已丧失承担责任的能力（或认为并没什么责任要承担），可是对于小康，他又不自觉扮演起传统意义上的“父亲”角色，却也只能是失职的。小康是年轻的同性恋者，可是却并不清楚自己期望从同性处获得怎样一种安慰，父母的貌合神离不但令他对男女关系失掉信心，对同性关系的理解也盲从地认为只是两具肉体的短暂吸引、结合。而作为被丈夫（同时代男人）与儿子（更年轻的男人）同时冷落的母亲（陆筱琳），则只能默默忍受肉体与精神的双重饥渴与孤独。

« Entre Pyrénées et Atlantique coulent des rivières puissantes qu’on appelle les gaves. Les champs de maïs les assoiffent, les barrages bloquent la circulation du saumon. L’activité humaine bouleverse le cycle de l’eau et la biodiversité de la rivière.» 　　« Pour voir la rivière aujourd’hui, il faut filmer plus large que la rivière, il faut filmer le bassin versant, le cycle de l’eau. Il faut la faire exister dans ses extensions souterraines et aériennes, les nappes et les nuages, mais aussi la chercher jusque dans le champ de maïs, la frayère à saumons, les retenues qui la bloquent. Il faut la filmer suspendue entre mémoire d’un passé fastueux et peur d’un avenir desséché. Filmer les gaves, c’est filmer notre monde dans son intrication de beauté et de désastre. » (Dominique Marchais)

A young woman and man meet for lunch in restaurant nestled in the mountainous regions of Lebanon. Suddenly war seems to break out all around them. They are forced to retreat into nature.

« Entre Pyrénées et Atlantique coulent des rivières puissantes qu’on appelle les gaves. Les champs de maïs les assoiffent, les barrages bloquent la circulation du saumon. L’activité humaine bouleverse le cycle de l’eau et la biodiversité de la rivière.» 　　« Pour voir la rivière aujourd’hui, il faut filmer plus large que la rivière, il faut filmer le bassin versant, le cycle de l’eau. Il faut la faire exister dans ses extensions souterraines et aériennes, les nappes et les nuages, mais aussi la chercher jusque dans le champ de maïs, la frayère à saumons, les retenues qui la bloquent. Il faut la filmer suspendue entre mémoire d’un passé fastueux et peur d’un avenir desséché. Filmer les gaves, c’est filmer notre monde dans son intrication de beauté et de désastre. » (Dominique Marchais)

Film takes place at the end of XIX century in a tiny colony in a Yakut taiga. 　　A young healthy girl (a thief hunter) who occasionaly visits the village falls in love with one of the patients, a young one, and bears his child. But suddenly his wife appears, and in this strange love triangle the tragedy becomes ripe...

The River, of which the central theme is desire, is the most erotic film of the silent cinema. Wreathed with the laurels of worldwide success and with an Oscar for 7th Heaven, American filmmaker of Italo-Swiss origin, Frank Borzage (1894-1962) conceived this work with complete artistic freedom. The immense natural sets were built in the open-air on a lot at Fox Film in Westwood, Los Angeles. 　　The initial situation is of an Eden-like simplicity: the initiation into love of a male virgin, a man of the woods coming into contact with a mysterious female urbanite about whom we learn but little, other than that she "has lived life to the full" and that she is always monitored by the crow belonging to her lover who was imprisoned for murder. There follow the hazards of seduction and refusal, ruses and inhibitions, endless desires confessed, with many hitches, right up to metamorphosis into love. The whole narrative unfolds on the banks of a river which reveals the nudity of the bodies (sex), the mortal perils of the vortex (passion), the purification and promise of a harmonious fulfillment (the sea.) 　　When it first came out the film was pursued by misfortune: not quite knowing how to promote it, Fox disguised the work with a musical prologue and a spoken word ending, filmed behind the back of the cineaste (the 'talkie' version was unseen outside of the United States). The strong sensuality of the images shocked puritan America: The River was forbidden a screening in many States and a tacit consensus limited its distribution. Many newspapers passed over the film in silence, boycotted the publicity, and even the « New York Times » only granted it a small, embarrassed paragraph. 　　In Europe the reception was warmer and the French movie-goers, amongst them the young Marcel Carné, praised the film to the skies (7 weeks exclusive in Paris). The surrealist milieus around André Breton saw in this Woman With Raven, as which the film was distributed in France, more true audaciousness and insight than in the entire French avant-garde. For the duration of the season, the disturbing Mary Duncan (1895-1993) provoked flights of fantasy under the same heading as Louise Brooks. Then the film disappeared, became a legend. It is rumoured to have been lost, just like the other mythic title from Fox, Murnau's 4 Devils filmed at the same time.