In communist Romania, thousands of Western films on bootleg VHS tapes — mostly Hollywood action movies — were smuggled behind the Iron Curtain, opening a window into the free world. Under President Nicolae Ceaușescu, Romania was culturally isolated and ideologically censored. Images of life outside its borders were cut off and TV was reduced to propaganda bulletins. From the drab concrete housing blocks to the food ration lines, the threat of surveillance prevented people from stepping out of line. But in the mid-1980s, under the nose of the Securitate, Ceaușescu’s secret police, thousands of Hollywood films were smuggled into the country by an underground operative named Zamfir, and they were all covertly dubbed by Irina Nistor, a courageous translator whose distinct voice captivated the nation and became a symbol of freedom. As we see through evocative re-creations in Chuck Norris vs Communism, a network of secret screening rooms sprung up across Romania as families, friends, and neighbors gathered to watch action heroes like Norris, Van Damme, and Stallone, along with romantic comedies, dramas, and Hollywood epics. While the stories captured the imagination, it was the lavish settings and backdrops that mesmerized the audience. The films offered Romanians glimpses of the abundant West, which prompted the regime to clamp down on the clandestine screenings, casting an atmosphere of ever-present danger and suspicion.

A newspaper publisher listens to the personal tapes of investigative reporter David Norliss (Roy Thinnes), who has disappeared during an investigation. The tapes tell the story of that investigation, involving a recent widow (Angie Dickenson) whose late husband has been seen working in his private studio. As Norliss and the widow investigate, they unravel a plot involving Voodoo and the walking dead. Written by balkaster

乐卡·康斯坦丁南维克担任南斯拉夫总统约瑟普·布罗兹·铁托的私人电影放映员长达32年之久。期间，他向铁托放映了共8801部影片。他和南斯拉夫的导演、电影明星和工作室老板们一起讲述铁托（1892-1980）是如何构建战后的南斯拉夫、同时也利用电影业来建设这个新国家的故事。理查德·伯顿、索菲亚·罗兰和奥森·韦尔斯等明星的诞生，给这种努力增添了一丝光彩。他们出现在许多由南斯拉夫资助的电影巨作中，《电影主义》通过采用许多已被遗忘的南斯拉夫电影片段讲述了南斯拉夫的故事—--这种讲述方式从未呈现于屏幕。通过拼凑在一起的独家幕后档案，本片再现了一个国家的故事，也许这个国家本身就是一部小说。

乐卡•康斯坦丁南维克担任南斯拉夫总统约瑟普•布罗兹•铁托的私人电影放映员长达32年之久。期间，他向铁托放映了共8801部影片。他和南斯拉夫的导演、电影明星和工作室老板们一起讲述铁托（1892-1980）是如何构建战后的南斯拉夫、同时也利用电影业来建设这个新国家的故事。理查德•伯顿、索菲亚•罗兰和奥森•韦尔斯等明星的诞生，给这种努力增添了一丝光彩。他们出现在许多由南斯拉夫资助的电影巨作中，《电影主义》通过采用许多已被遗忘的南斯拉夫电影片段讲述了南斯拉夫的故事—--这种讲述方式从未呈现于屏幕。通过拼凑在一起的独家幕后档案，本片再现了一个国家的故事，也许这个国家本身就是一部小说。

BBC Four拍摄的纪录片，谈苏维埃政权如何介入国家运动，东欧的足球场如何成为共产主义政客利用的战场，俄罗斯、匈牙利与前东德共产主义领袖的操控，以及在铁幕背后不愿合作者的一些案例。 After the Russian Revolution, the Soviet authorities sought to exercise control over every aspect of social, political and cultural life, including Russia's national sport, football. Throughout the 20th Century, the football grounds of Eastern Europe became battlegrounds as ruthless politicians tried to use football to lend legitimacy to communist rule. In this film, footballers from Russia, Hungary and East Germany recall how the beautiful game was manipulated by ruthless communist leaders, and reveal how the careers of several great footballers from behind the Iron Curtain were destroyed simply because they refused to co-operate with the Eastern Bloc's most brutal totalitarian regimes. The central tale is of the George Best of Russian football, a seventeen-year-old slinky, skilled forward with a teddy boy haircut, Eduard Streltstov, who was the inventor of a back-heeled pass, still known as "The Russian Pelé", whose career was wrecked by the KGB.

《关于父亲的电影》是一个颇具挑战性的题材。民主德国文化官员克劳斯·吉西（1912 - 1999）的儿子安德里亚斯·戈尔茨坦毫无虚荣之心，却执着地完成了这项任务。他沉稳冷静、真诚知性、兼具分析与个人情感。他揭开了一幅拼图，既摒弃了自封的历史胜利者的目的论，也摒弃了……

81-year-old master, Jean-Marie Straub, once again invents and surprises with his latest film. Kommunisten consists of six parts, five of which have been taken from his earlier works. Straub does not aim to be self-reverential, but instead wants to make different blocks (of text, time, and languages) clash so as to highlight invisible elements of feelings and politics. It is a film about human adventure, from the past century to the one ahead. In this project, all the things that the films of Jean-Marie Straub and Danièle Huillet have been based on for the past fifty years, find their most raw and recent form.

由法国历史学者Patrick Rotman和Patrick Barbéris统筹拍摄的电视纪录片，由帕特里斯·夏侯（Patrice Chereau，《亲密》《爱我就搭火车》导演）旁白。讲述共产主义由诞生到发展到在欧亚大地蓬勃伸展的100年历史，时间跨越1917-1993近一世纪，分4大部分。

Quiet provincial life and the Emilia spouses Tucu is turned upside down when their daughter comes back from Canada, along with her American fiance. What should be a happy meeting quickly turns into a complicated situation and at the same time funny. The girl's parents that the young couple is going through serious financial problems, so they are willing to sacrifice anything for the future family of their daughter not lacked anything.