21世紀的日本青年(山田孝之飾)穿越時空到訪1945「戰後元年」的東京，見證戰敗投降、天皇失「神」之下，適者生存、物慾橫流的各種社會怪象與新興產業：駐日盟軍專屬紅燈區、暢旺的黑市、各類宗教與新政商集團的誕生、美式文化招搖入世…。本片將許多新發現的舊錄像，結合影像技術，帶你實地感受沒見過的暗黑東京都。

かつて関西を中心に自主映画活動を展開した「ヴォワイアン・シネマテーク」のメンバーのひとり。プライベートな視点を保ちつつ、強靭なイメージをつくりだす作家である。本作は、作家にとって異郷である東京をテーマにした作品で、さまざまな風景との出会いを緊張感のある映像の連鎖によって示している。 　　A member of the former Voyant Cinematheque, a group which promoted personal filmmaking mainly in the Kansai region, Aoi creates tough images while maintaining a private point of view. This work focuses on the theme of Tokyo, an alien place for the artist, and shows a series of images which maintain tension through encounters with various landscapes.

かつて関西を中心に自主映画活動を展開した「ヴォワイアン・シネマテーク」のメンバーのひとり。プライベートな視点を保ちつつ、強靭なイメージをつくりだす作家である。本作は、作家にとって異郷である東京をテーマにした作品で、さまざまな風景との出会いを緊張感のある映像の連鎖によって示している。 　　A member of the former Voyant Cinematheque, a group which promoted personal filmmaking mainly in the Kansai region, Aoi creates tough images while maintaining a private point of view. This work focuses on the theme of Tokyo, an alien place for the artist, and shows a series of images which maintain tension through encounters with various landscapes.

21世紀的日本青年(山田孝之飾)穿越時空到訪1945「戰後元年」的東京，見證戰敗投降、天皇失「神」之下，適者生存、物慾橫流的各種社會怪象與新興產業：駐日盟軍專屬紅燈區、暢旺的黑市、各類宗教與新政商集團的誕生、美式文化招搖入世…。本片將許多新發現的舊錄像，結合影像技術，帶你實地感受沒見過的暗黑東京都。

本剧以东京都自来水局为舞台，讲述了自来水局前辈捏造自来水管破裂事故，让尚未投入工作的新人产生危机感的故事。

冰球是令加拿大举国疯狂的体育项目，电视上，多伦多与蒙特利尔两地的评论员唇枪舌剑，电视前，分处两地的警员马丁（Colm Feore 饰）与大卫（Patrick Huard 饰）却同样面对和子女沟通的障碍。一起发生在州界上的凶杀案让两人走到了一起，但法语区和英语区的差异为他们貌合神离的合作增加了不少佐料。以死者身上的纹身以及现场的直升机为线索，两人逐渐接近事情的真相，但那位纹身杀人狂的动作始终快他们一步，甚至在电视节目中直接向二人挑衅。在办案过程中，马丁和大卫求同存异增进了了解，幕后那位视出卖球队为叛国行为的狂热冰球爱好者也浮出了水面…… 　　本片获2007年加拿大吉尼奖最佳动作电影、最佳全片配乐奖，加拿大喜剧电影节最佳剧本奖。2008年朱特奖最佳国际动作电影、剪辑奖。

Lou和Henry是太平洋西北地区一个小警队中的姐弟侦探组合，他们必须面对各式各样的居民、严重缺乏的资源，以及二人彼此之间、二人与警局局长Big Hank之间非常复杂的关系，而Hank恰好是他们的父亲。

This very Kafka-esque film is Keaton's response to the Fatty Arbuckle scandal.[citation needed] Even though the central character's intentions are good, he cannot win, no matter how inventively he tries. He gets into various scraps with police officers throughout the film. Eventually, he unwittingly throws a bomb into a police parade and ends up being chased by a horde of cops. 　　At the end of the film, Keaton's character locks up the cops in the police station. However, the girl he is trying to woo disapproves of his behavior and gives him the cold shoulder. Therefore, he unlocks the police station and is immediately pulled in by the cops. The film ends with the title "The End" written on a tombstone with Keaton's pork pie hat propped on it. 　　One of Keaton's most iconic and brilliantly-constructed short films, Cops was deemed "culturally, historically, or aesthetically significant" by the United States Library of Congress and selected for preservation in their National Film Registry in 1997.

This very Kafka-esque film is Keaton's response to the Fatty Arbuckle scandal.[citation needed] Even though the central character's intentions are good, he cannot win, no matter how inventively he tries. He gets into various scraps with police officers throughout the film. Eventually, he unwittingly throws a bomb into a police parade and ends up being chased by a horde of cops. 　　At the end of the film, Keaton's character locks up the cops in the police station. However, the girl he is trying to woo disapproves of his behavior and gives him the cold shoulder. Therefore, he unlocks the police station and is immediately pulled in by the cops. The film ends with the title "The End" written on a tombstone with Keaton's pork pie hat propped on it. 　　One of Keaton's most iconic and brilliantly-constructed short films, Cops was deemed "culturally, historically, or aesthetically significant" by the United States Library of Congress and selected for preservation in their National Film Registry in 1997.