Lindsey Vickers, who scripts and directs this enigmatic film, offers a viewer just enough information to raise questions, at the same time presenting enough plums in the pudding to warrant an alert audience wishing for answers in return, but providentially style triumphs over substance. Vickers constructs an unquestionably suspenseful tale of predestination that revolves about a talented young violinist who manifestly possesses significant preternatural powers, more than sufficient to drastically affect those about her. Action opens with a three year flashback scene as we view a 12 year old girl carrying her casebound violin while walking from her school toward her home, traversing a secluded coppice, Crombie Wood, wherein she is suddenly seized (in a highly eerie scene) by a baleful force that slaughters her. Three years after, Joanne Cameron (Samantha Weysom), a 14 year old student at the same school, and also a violinist of a high order, is seen approaching a now abandoned Crombie Wood (fenced to discourage any who might otherwise trudge through it) where she speaks at the barrier to someone or something unseen just within the enclosure. Joanne's affection for her father Ian (Edward Woodward) is obsessive, and when he cannot attend her solo examination recital because of a business appointment, the child's paranormal facility is apparently utilized in the service of evil, thereby raising nocturnal havoc with Ian and Joanne's mother Dianna (Jane Merrow), as the married pair have nightmares in union that share numerous dire elements. In the morning following the tandem bad dreams, Ian drives to his business appointment in a loaned automobile, as his is being serviced, and it is soon apparent that vital auto related components from within the nightmare are being enacted during the light of day, and a powerful perception of upcoming danger is fashioned through the script. It is this premonition of dread that securely establishes the tension marking the film from its opening scene, a viewer wondering specifically how, or if, Ian will be victimized consonant with the display of frightful events that comprised a large portion of the mentioned dreams. Well-wrought and intense domestically flavoured episodes mingle congruent with scenes of suspense, according credible shape to the whole. Helping to nourish a viewer's interest are nicely conceived passages showcasing visual and aural synchronicity, based for the largest part upon the dream sequences, while a gripping atonal score by Trevor Jones and resourceful camerawork from Brian West provide intensive underpinning to a film that never retreats away from the plotline perception of Vickers. Especial note shall be made of a solo car crash occurrence that is shot and edited in a highly persuasive manner. Acting honours are to the expressive Merrow for her turn as a decisive pivot between her husband and daughter. Filmed to a large extent within scenic Snowdonia National Park of North Wales, this undervalued film had but infrequent theatrical showings before being released to video and has not since emerged in a DVD format. 　　http://www.amazon.com/review/R2ZAX94P5JAV07/ref=cm_cr_rdp_perm

你是否也曾手執電話，像需索存在感一般期待着另一端傳來聲音？無眠的 Uber 司機曉樂穿梭寂寥的馬路，聲線沉厚的接線生朗生深宵下班後，慣常乘搭曉樂的車回家。兩人在車上閒聊片刻，交換一點溫柔的慰藉，卻也跨越不了那難以言喻的距離。每當曉樂叼着煙獨對沉靜的夜空，那年難言的心事便把她捲進無盡的黑暗。她每晚反覆撥打同一個電話號碼，總是未能接通。突然有一晚，那通電話神奇地接通了，她是否就能走出內心黑洞？憂鬱萎靡的氛圍調子，喚起生命中那份苟延殘喘的無奈。

从对小孔成像、视觉暂留的利用和不计其数的光学仪器的发明，直到1895年卢米埃尔兄弟在巴黎首次公开放映，影片回顾电影近八个世纪史前史的重要成果，间歇旁白仅提供历史背景的简短解释，对导演本人珍藏的包括西洋镜、透景画箱、立体镜图和魔术画片等众多古董器械的实际演示则直接再现前人移动影像的尝试。（豆瓣电影字幕翻译2.0小组）

本片以电影剧照、电影宣传照、导演工作照和演员照片等引来夸张搞笑的动画，道尽一部优秀电影的出炉是何其艰难，其中的一把辛酸泪只有电影人自己才知。 　　编剧要通过不断地与稍纵即逝的灵感做斗争，才能写出自己和导演都满意的剧本；可是他们满意的剧本，相关审查部门总能找出各种各样的问题，于是最终到达他们手上的剧本，可能已与原来的大相径庭；之后，导演开始与摄影师、美工、场记等人员一遍遍地沟通，敲定细节，找寻合适的演员；拍摄中，问题会一个接一个出现，有些镜头要重复拍摄许多次；拍完剪完，要再送有关部门审查，如果他们提出修改意见，有些镜头必须重拍；好不容易电影上映了，该电影的所有工作人员又要忐忑不安地等待观众的检验。

"My name is Gianmaria, today I turned ten and everybody is partying. We live all together. All of us, cousins, uncles, aunts, Grandpa and Granma. All in the same building. And we do everything together. We even do the grocery shopping at the same store. On the first floor lives my uncle Mario, the youngest and the most dumb among the uncles. We live on the second floor. On the third floor lives my aunt Anna with uncle Franco, on the fourth is the other uncle, Gavino, the rich and stingy one. On the last floor live Grandpa and Granma. My father has spent almost one year at the hospital and since then everything has changed. He doesn't even remember what’s my name, he doesn't even remember his own name. "Your name is Antonio!" I told him. He nods his head and smiles at me, but then he forgets everything again. Mom says it would have been better if he have died. But then, after she says it, she feels guilty and starts to cry. I never cry, maybe once... or twice. I mean, I never cry. Mom says that nobody cares about Dad now and that he has became nothing to them. That everyone has abandoned him and us. And that if he had died, they all would have cried. Instead, now that he is still alive, no one cries. Because a dead man makes you cry, a living man doesn’t."

Three movie genres of the 1930s, boxing films, WWI aviation dramas, and backstage Broadway musicals, are satirized using the same cast.

螺旋设计旋转得令人眩晕。它被一个旋转的圆盘所取代。这两个在完美的交替中持续到最后:一个螺旋desi gn，一个圆盘。每个磁盘都有标签，可以在其旋转时读取。这些法语信息以双关语、异想天开的押韵和头韵为特色。最后的信息评论螺旋主题本身。

螺旋设计旋转得令人眩晕。它被一个旋转的圆盘所取代。这两个在完美的交替中持续到最后:一个螺旋desi gn，一个圆盘。每个磁盘都有标签，可以在其旋转时读取。这些法语信息以双关语、异想天开的押韵和头韵为特色。最后的信息评论螺旋主题本身。

导演大卫•瓦斯（胡里奥•查维兹Julio Chávez饰）筹拍一部描绘阿根廷巴塔哥尼亚高原和阿劳卡尼亚大区传奇“国王”的电影。筹拍工作困难重重，但最难的是寻找一位最合适的国王扮演者。历经辛苦，全部演员终于敲定，剧组出发前往阿根廷南部的巴塔哥尼亚高原开始拍摄。但正当拍摄任务接近尾声之际，制片人突然撤走资金，众人也被借住的孤儿院扫地出门。大卫•瓦斯拖欠演员工资，却又执意要完成电影拍摄，逼得一直不离不弃的剧组经理阿图罗（尤利西斯•杜蒙特Ulises Dumont 饰）抓狂…… 　　本片是南美魔幻现实主义电影代表作之一，被选为八十年代阿根廷十大佳片，并获威尼斯电影节处女作银狮奖。