本剧是一部极具成瘾性的短剧，主要登场的是活跃于剧集、电影、舞台等领域的8位个性鲜明的实力派演员。他们会分成境遇各不相同的四组搭档，在六个情境里开展“狂热游行之外平凡日常”的互动。舞台设定在郊外的某小镇，当天因为举办“游行”，整个街道都洋溢着高涨的热情，但登场的8人却置身于那欢快喧嚣之外，显得有些疏离。年龄、性别、境遇都不同的四组搭档在六个情境中的互动十分自然，虽没有新奇古怪的地方，却莫名让人想要一探究竟。

Die Parallelstraße is one of the most mysterious pioneer films of the New German Cinema. It was produced by GBF, a production company for innovative industrial and promotional films and received awards in inter national film festivals. French critic Robert Benayoun called it "a philosophical thriller, a western of meditation which compensates for a whole year of inevitable manifestations of stupidity," Jacques Rivette put it on his list of the most important films of 1968. The DVD presents for the very first time this "unjustly forgotten masterpiece of the New German Cinema" (Martin Brady) as well as several rare shorts by Ferdinand Khittl (1924-1976) which show his talent for innovative film experiments. 　　One of the greatest discoveries in this sense was former Luis Trenker assistant Ferdinand Khittl’s Die Parallelstraße (1961), not by chance produced by his “Gesellschaft für bildende Filme” (“Society of educational film”). Not a third path, but a parallel street becomes the symbol of Khittl’s enterprise, a thoughtful and only occasionally winking meta-comment on metaphysics and documentary objectivity in film, sometimes extraordinarily hilarious, sometimes hardly able to get away from its deliberately starched setting. A group of young men is trying to analyse an enormous number of fragmentary film documents (shot by Khittl and his cameraman Ronald Martini during two extensive travels around the world in 1959 and 1960). The 308 “documents” – films about water and erosion, Brasilia, a volcano, rice in Asia or a meanwhile legendary Rosstäuscher (horse cheater) – are screened one after the after and intermitted by comments of the team members (who, on their part, are being commented by a supervisor). “In a Kafkaesque room five Ionescoesque people find themselves in a Sartreesque situation, trying to solve a Camuesque problem”, as back then pre-eminent critic Helmut Färber ironically described this setting. 　　Khittl, who in 1961 like Vesely signed the famous Oberhausen manifesto, puts the end of his film at the beginning (a device we can later find in Vlado Kristl’s works), signifying that despite its message – the team is supposedly bringing the recordings in a certain order – his film will never get a structure than could be overlooked. Another aspect touched by Khittl is the special role of different forms of media used for recordings. What today would be called a media theory of the archive in 1961 was referred to not on a theoretical but on a highly entertaining and poetic level. Subtext and meta-text run on parallel tracks. (Martina Lunzer and Barbara Wurm @ Senses of Cinema)

Die Parallelstraße is one of the most mysterious pioneer films of the New German Cinema. It was produced by GBF, a production company for innovative industrial and promotional films and received awards in inter national film festivals. French critic Robert Benayoun called it "a philosophical thriller, a western of meditation which compensates for a whole year of inevitable manifestations of stupidity," Jacques Rivette put it on his list of the most important films of 1968. The DVD presents for the very first time this "unjustly forgotten masterpiece of the New German Cinema" (Martin Brady) as well as several rare shorts by Ferdinand Khittl (1924-1976) which show his talent for innovative film experiments. 　　One of the greatest discoveries in this sense was former Luis Trenker assistant Ferdinand Khittl’s Die Parallelstraße (1961), not by chance produced by his “Gesellschaft für bildende Filme” (“Society of educational film”). Not a third path, but a parallel street becomes the symbol of Khittl’s enterprise, a thoughtful and only occasionally winking meta-comment on metaphysics and documentary objectivity in film, sometimes extraordinarily hilarious, sometimes hardly able to get away from its deliberately starched setting. A group of young men is trying to analyse an enormous number of fragmentary film documents (shot by Khittl and his cameraman Ronald Martini during two extensive travels around the world in 1959 and 1960). The 308 “documents” – films about water and erosion, Brasilia, a volcano, rice in Asia or a meanwhile legendary Rosstäuscher (horse cheater) – are screened one after the after and intermitted by comments of the team members (who, on their part, are being commented by a supervisor). “In a Kafkaesque room five Ionescoesque people find themselves in a Sartreesque situation, trying to solve a Camuesque problem”, as back then pre-eminent critic Helmut Färber ironically described this setting. 　　Khittl, who in 1961 like Vesely signed the famous Oberhausen manifesto, puts the end of his film at the beginning (a device we can later find in Vlado Kristl’s works), signifying that despite its message – the team is supposedly bringing the recordings in a certain order – his film will never get a structure than could be overlooked. Another aspect touched by Khittl is the special role of different forms of media used for recordings. What today would be called a media theory of the archive in 1961 was referred to not on a theoretical but on a highly entertaining and poetic level. Subtext and meta-text run on parallel tracks. (Martina Lunzer and Barbara Wurm @ Senses of Cinema)

The story of a gossip-ridden, violent neighborhood. A young hustler will stop at nothing to be with his secret lover, but her merciless mother won’t have it. When an extortionist catches the couple in the act, the mother asks a gangster to stop it all… things don’t go as planned.

Sourced from content from the Great North Run film archive, concentrating on the audience rather than the runner. Frame layers are arranged across the screen in the direction of the natural panning of the original shots, revealing a unique panoramic view of the content.

Two children go behind the scenes of a small circus.

Two children go behind the scenes of a small circus.

"Taratata is a tribute to the parades that used to be held on Saint-Jean-Baptiste Day, Quebec's national holiday. These parades were an occasion to honour traditional values or demonstrate progress by way of allegorical floats. Presented each year on June 24 in cities and towns all over Quebec, they gave local musicians and brass bands a chance to display their talents. Children adored the pageant with its splendid uniforms. The day would end with a great fireworks display. I wanted to evoke this popular celebration once again, emphasizing what was charming, ridiculous or pretentious." 　　F.B.