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.”

1991年，一档集相声、小品、魔术、杂技、评书、笑话、马戏、说唱等曲艺娱乐形式于一体的全新栏目——《曲苑杂坛》——在中央电视台1套播出。该栏目以以轻松为基调，以欢乐为主旨，每周三都准时为荧幕前的观众带来精彩纷呈的视听盛宴。通过《曲苑杂坛》，观众得以领略马三立、侯跃文、马志明、田连元等曲艺名家的艺术风采，同时还认识了洛桑、德江、买红妹等才华横溢、个性鲜明地曲艺新人。汪文华作为该节目的导演兼主持人，自节目开播二十年来一直致力于推陈出新，打造精品，并且拒绝商业炒作，弘扬节目正气。 　　虽然《曲苑杂坛》已经停播，但那首脍炙人口的开场曲依旧回荡在老观众们的记忆中。

1991年，一档集相声、小品、魔术、杂技、评书、笑话、马戏、说唱等曲艺娱乐形式于一体的全新栏目——《曲苑杂坛》——在中央电视台1套播出。该栏目以以轻松为基调，以欢乐为主旨，每周三都准时为荧幕前的观众带来精彩纷呈的视听盛宴。通过《曲苑杂坛》，观众得以领略马三立、侯跃文、马志明、田连元等曲艺名家的艺术风采，同时还认识了洛桑、德江、买红妹等才华横溢、个性鲜明地曲艺新人。汪文华作为该节目的导演兼主持人，自节目开播二十年来一直致力于推陈出新，打造精品，并且拒绝商业炒作，弘扬节目正气。 　　虽然《曲苑杂坛》已经停播，但那首脍炙人口的开场曲依旧回荡在老观众们的记忆中。

克里斯·洛克 (Chris Rock) 的第三部HBO喜剧特别节目展示了他在哈林区阿波罗剧院表演单口相声的情景。

克里斯·洛克 (Chris Rock) 的第三部HBO喜剧特别节目展示了他在哈林区阿波罗剧院表演单口相声的情景。