美国独立电影制作人阿贝尔·费拉拉的《猛禽小队》，本来是他梦寐以求的政治惊悚片，但一切都没有成真。《四五口径女郎》 （1981）和《坏中尉》（1992）等电影背后的导演，带我们一起走进20世纪70年代纽约，去探究一个未完成的故事。

Intimate portrait of Abel Ferrara: the result is an eccentric road movie, with the restless film maker as a charming, shabby guide around New York by night.

费拉拉是生存在21世纪末的人工智能，由于系统的崩坏，费拉拉丧失了部分功能。一天，他上街寻找记忆，被告知即将世界末日，他该不该选择相信。费拉拉返回居所时，发现被一位陌生男子跟踪，只剩下两个小时，是看着世界毁灭，还是解开所有疑问

Abel是位9岁男孩，他在父亲离家之后就再未说话。有一天，孩子突然开口说话，并充当起一家之主。他照顾他的母亲，看管他的弟弟妹妹，没有一个人反对他。直到有一天门铃响起：门外站着他的父亲。

阿贝尔（Abel）是一所高中足球场孤独的场地管理员，他意外地成为了一名苦苦挣扎的青少年的导师。

法医弗雷德-阿贝尔（Fred Abel）协助柏林联邦刑警局调查谋杀案，他的行为属于非官方行为，自己也间接卷入了案件。

一名妇女在柏林的一家夜总会因服药过量而死亡。在柏林夜生活中玩乐的阿贝尔的孩子们也被凶手抓获。

For every movie made, dozens of pictures remain missing forever. MISSING PICTURES gives directors a chance to tell the story that would otherwise never be told. Each episode invites one filmmaker to narrate some key points of the movie, why the movie was so important for them at the time and why it was never made. Episode 1: Abel Ferrara, Birds of Prey (USA) In this episode, we meet long-time independent American filmmaker Abel Ferrara. ‘Birds of Prey‘ would have been the political thriller of his dreams…until it all fell apart. The neo-noir, provocative director behind movies like Ms. 45 (1981) and Bad Lieutenant (1992), takes us with him on a journey through the heart of his unfinished story based in the 70’s New York City. Episode 2: Tsai Ming-Liang, The Seven-Story building (Taïwan) Tsai Ming-Liang, the Taiwanese maestro of slow cinema, doesn’t have a real “missing picture”, but what he does have are childhood memories, so vivid that it is impossible for him to film. The filmmaker seizes the medium of virtual reality to go back to the Malaysia of his childhood, when his grandparents took him to see two movies every night. Rather than telling us about an unmade film, Tsai Ming-Liang transforms the exercise into a making-of of his entire film career. Episode 3: Catherine Hardwicke, The Monkey Wrench Gang (USA) After Twilight Chapter 1’s huge box-office hit, American filmmaker Catherine Hardwicke tried to make an adaptation of The Monkey Wrench Gang by Edward Abbey, a cult book of the 70s American counterculture and a precursor of eco-activism. The director revisits this project which excited her so much and which became, because of the reluctance of the Hollywood studios, one of these umpteenth “ghosts of the garage”. Episode 4: Lee Myung-Se, Father is gone (South Korea) Father is gone could have been Lee Myung-se’s debut film, but slipped into a long hiatus instead. After thirty years busy directing unprecedented features in Korea like First Love or Nowhere to Hide, Lee finally brings the lost project back to life through virtual reality. Set against the backdrop of a family of three moving to the outskirts of Seoul in the 1960s – where the director himself grew up – Father Is Gone questions the place of the father in the traditional Korean culture. Episode 5 : Naomi Kawase, Oh Debu (Japan) The most celebrated female filmmaker from Japan revisits a project that she envisioned after her 2015 film Sweet Bean. Oh Debu tells the story of Aya, a 27-year-old, overweight and over romantic woman. Through this story, Naomi Kawase wanted to give herself a challenge trying to make a comedy, far from her naturalist, poetic previous work.

阿贝尔·冈斯（Abel Gance）的拿破仑史诗电影，以其未公开的“终极版”形式呈现。在法国电影资料馆（La Cinémathèque française）历史上前所未有的16年集体探索之后，公众终于有机会亲自评判这部自1927年以来无人见过的影片。由乔治·穆里耶（Georges Mourier）进行的堪称典范的影片重构，还搭配了由……创作的全新配乐。

1989年推出的动画版勇者斗恶龙