電影拍了一半卻因疫情而暫停。作者困在紐約，感到前所未有的迷茫。 在這靜止實則流逝的時間裡，重新凝視創作的影像：拍好的電影片段、手機裡的日常及街頭拍攝的照片。試著從中找出關於創作的答案，以及自己與影像的關係。

Two couples, four characters portrayed by eight actors, based on texts, some poems by Gerrit Kouwenaar. The film follows four persons (each played by two different actors alternating in the roles) as they rush about the streets of Amsterdam, each of them extremely busy doing something. One highlight of the film is the reading of several of the poems of celebrated poet Gerrit Kouwenaar. Despite its severely experimental style and deliberate storylessness, this film was sufficiently inventive and rhythmically interesting to receive a warm reception from some critics. [Clarke Fountain, All Movie Guide] 　　"Ongedaan Gedaan" (or, Undone Done, my translation) 　　is a very formalistic movie from a director praised by Straub-Huillet. Because of the abstract (at times absurd) form, focussed mostly on rythm of movement, images and words it can be watched without subtitles. But on the other hand it features poetry from the famous experimental poet Gerrit Kouwenaar... so Dutch speakers have more to enjoy. There is not much to translate, but the poetry might require an above average translator.

Dalena Tran’s music video for a song by Ash Koosha evokes a sense of weightlessness and permanent levitation with images, one morphing into the next in slow motion, of various moving creatures. The likenesses of birds, horses, and people—based on real footage—are imbued with a visual quality reminiscent of painting.

光子（森口瑶子 饰）一直过着形单影只的生活，虽然在旁人眼中，她是个稍稍有些奇怪的孤僻女人，但对于光子自己来说，她并没有觉得现在的生活有什么不好的。一天，光子工作的地方来了一位名叫胜野（仲村亨 饰）的客户，由光子负责接待，因为光子每次都能够非常细心完美的完成工作任务，这吸引了胜野的注意。终于有一天，胜野向光子展开了热烈的攻势。 　　然而，胜野对于光子来说，是一个离她非常遥远的男人，和他比起来，刚刚搬到公寓楼下的邻居下川弘（松冈俊介 饰）似乎更能吸引光子的注意，久而久之，光子和下川熟络了起来。

光子（森口瑶子 饰）一直过着形单影只的生活，虽然在旁人眼中，她是个稍稍有些奇怪的孤僻女人，但对于光子自己来说，她并没有觉得现在的生活有什么不好的。一天，光子工作的地方来了一位名叫胜野（仲村亨 饰）的客户，由光子负责接待，因为光子每次都能够非常细心完美的完成工作任务，这吸引了胜野的注意。终于有一天，胜野向光子展开了热烈的攻势。 　　然而，胜野对于光子来说，是一个离她非常遥远的男人，和他比起来，刚刚搬到公寓楼下的邻居下川弘（松冈俊介 饰）似乎更能吸引光子的注意，久而久之，光子和下川熟络了起来。

《美国未完成》是加伯的首部长片，影片讲述三个匈牙利人在南北战争时期美国西部的奇异经历，据说灵感来自于美国传奇作家安布罗斯·比尔斯（Ambrose Bierce）的小说，加伯在影像上故意使用老旧的黑白胶片，并用间隔嚗光等手法营造出像默片一样的美感，音乐和对白也是用录音机后期加上去的，但在其中的一些追逐场面又使用到了慢速摄影这样的现代方法制造出一种古怪的诗意，甚至有些场景是用破碎的镜头拍摄的，令人诧异。 　　Three Hungarians find themselves in the American West during the Civil War era, and they discuss love and surveying technology. One of them is a rationalist who gets ahead by the things he's achieved, the other is a tragical-fatlist and the third is an emotional Hungarian man who cleaves to his roots. This film, said have been inspired by a story by Ambrose Bierce, has deliberately been distressed, to give it an authentically "old" flavor. A mixture of avantgarde and "audience-movie".

在二战结束的时候，60分钟未编辑的原片，静躺在一个不受干扰的东德档案库中，随后被发现了。在 1942 年五月在华沙由纳粹党人所拍摄，而且被分类成了 " 犹太人街 "，这片段很快地成为了历史学家寻找华沙犹太人街的一笔真实纪录。但是，在之后发现了一卷长期消失的胶卷，内容包含多样摄影镜头和摄影师显露的场景，以及早前难以解释的连续镜头。一部未完成的电影将全部呈现原始胶片内容，从片中可以注意到虚构的情节（包括一个被设计的宴会）虚假地显现犹太城市居民享有的“好生活”，也深入探查了一卷已经臭名昭著的纳粹宣传影片。这部未完成的电影是一部庞大又重要的电影，记录我们这个时代最严重的恐怖事件，揭露了一些犯罪者努力地推动他们的日常工作事项，并扮演一切在光天化日之下。Yael Hersonski's powerful documentary achieves a remarkable feat through its penetrating look at another film-the now-infamous Nazi-produced film about the Warsaw Ghetto. Discovered after the war, the unfinished work, with no soundtrack, quickly became a resource for historians seeking an authentic record, despite its elaborate propagandistic construction. The later discovery of a long-missing reel complicated earlier readings, showing the manipulations of camera crews in these "everyday" scenes. Well-heeled Jews attending elegant dinners and theatricals (while callously stepping over the dead bodies of compatriots) now appeared as unwilling, but complicit, actors, alternately fearful and in denial of their looming fate.

在二战结束的时候，60分钟未编辑的原片，静躺在一个不受干扰的东德档案库中，随后被发现了。在 1942 年五月在华沙由纳粹党人所拍摄，而且被分类成了 " 犹太人街 "，这片段很快地成为了历史学家寻找华沙犹太人街的一笔真实纪录。但是，在之后发现了一卷长期消失的胶卷，内容包含多样摄影镜头和摄影师显露的场景，以及早前难以解释的连续镜头。一部未完成的电影将全部呈现原始胶片内容，从片中可以注意到虚构的情节（包括一个被设计的宴会）虚假地显现犹太城市居民享有的“好生活”，也深入探查了一卷已经臭名昭著的纳粹宣传影片。这部未完成的电影是一部庞大又重要的电影，记录我们这个时代最严重的恐怖事件，揭露了一些犯罪者努力地推动他们的日常工作事项，并扮演一切在光天化日之下。Yael Hersonski's powerful documentary achieves a remarkable feat through its penetrating look at another film-the now-infamous Nazi-produced film about the Warsaw Ghetto. Discovered after the war, the unfinished work, with no soundtrack, quickly became a resource for historians seeking an authentic record, despite its elaborate propagandistic construction. The later discovery of a long-missing reel complicated earlier readings, showing the manipulations of camera crews in these "everyday" scenes. Well-heeled Jews attending elegant dinners and theatricals (while callously stepping over the dead bodies of compatriots) now appeared as unwilling, but complicit, actors, alternately fearful and in denial of their looming fate.

这部游走于回溯和想象，文字和移动影像之间的创作是基于电影的电影，也是将电影和电影装置（apparatus）再物质化的尝试。在一次去德黑兰的考察中，艺术家和共同写作者重访了在1979年伊朗伊斯兰革命中被焚烧的电影院“一条街”，他们把革命前的伊朗电影和电影院场所作为分析地缘政治和石油政治的透镜。文字、档案、移动影像、电影素材和声音被穿插在真实与虚构的叙述结构中，展现了 “无声的” 历史操纵以及后革命时期伊朗社会状态。战争、欲望与物质之间的纠缠指向一种人造的末世“失乐园”，同时也从历史层面向观众问询激进革命在哪些层面正在向当下扩散。