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.

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.

Fox Rich, indomitable matriarch and modern-day abolitionist, strives to keep her family together while fighting for the release of her incarcerated husband. An intimate, epic, and unconventional love story, filmed over two decades.

Fox Rich, indomitable matriarch and modern-day abolitionist, strives to keep her family together while fighting for the release of her incarcerated husband. An intimate, epic, and unconventional love story, filmed over two decades.

来自加沙的巴勒斯坦男孩穆希跟祖父一直生活在以色列的一家医院里。出于安全考虑，两人只能在医院范围内活动。 　　当穆希的父母在加沙身陷困境时，他在以色列得到治疗，并且被“族人的敌人”养育。 　　为了救活穆希，以色列的医生不得不截掉他的四肢。远在加沙的穆希的父亲认定儿子的手术为医疗事故，要求医院将穆希送回家。但以色列和加沙两方的医生都一致认为加沙的医疗体系极其脆弱，对于孩子来说，回去的后果可能是致命的。

叶穆集团老总意外去世，引发了集团及叶穆家巨大的震动。叶穆家三个女儿和两个女婿在葬礼上齐聚，但作为亲人的他们不但没有互相安慰，反而开始互相揭短、针锋相对。 　　更令人咋舌的事接踵而至，叶穆老爷的遗嘱竟不翼而飞，在寻找遗嘱的过程中一段段陈年旧事被翻出……

叶穆集团老总意外去世，引发了集团及叶穆家巨大的震动。叶穆家三个女儿和两个女婿在葬礼上齐聚，但作为亲人的他们不但没有互相安慰，反而开始互相揭短、针锋相对。 　　更令人咋舌的事接踵而至，叶穆老爷的遗嘱竟不翼而飞，在寻找遗嘱的过程中一段段陈年旧事被翻出……