Twenty-six people - including two daughters, an ex-wife, his last lover, actors, fellow directors and writers, a neighbor, and boyhood friends - talk about François Truffaut. They discuss his attitudes toward wealth, his early writings about cinema, the undercurrent of violence in his films and his personality, the way he used and altered events in his life when making films, his search for a father (both artistic and biological), his relationship with his mother, the scenes in his films that cause a squirm of embarrassment, and his ultimate mysticism. Clips from a dozen of his films are included.

这部纪录片展现特吕弗于1966年所著的《希区柯克论电影》如何影响了后辈导演们。该片受访者包括斯科塞斯，大卫芬奇，斯皮尔伯格，韦斯安德森，林克莱特，帕尔玛，阿萨亚斯，格雷等等。

这部纪录片展现特吕弗于1966年所著的《希区柯克论电影》如何影响了后辈导演们。该片受访者包括斯科塞斯，大卫芬奇，斯皮尔伯格，韦斯安德森，林克莱特，帕尔玛，阿萨亚斯，格雷等等。

At the end of his life, gravely ill, François Truffaut took refuge with his ex-wife Madeleine Morgenstern. She tried to keep him occupied during his long agony. The filmmaker confided in his friend Claude de Givray, with the intention of writing his autobiography. Too weakened, he abandoned the project. The film reveals part of this final story.

吉米和莱克斯是一对年轻情侣，某日他们在实施抢劫后发现了一辆没上锁的车，车后座有一个小男孩，但他们没有管他，偷了一把枪就走了。吉米因不慎而枪走了火，他才急匆匆救出孩子并带回了家。莱克斯对孩子很不耐烦，把他关进了衣柜里，而吉米则发现枪走火时可能误杀了人……日本知名个性派导演真利子哲也曾以《错乱的一代》赢得2016年洛迦诺国际电影节当代电影人单元最佳新导演奖，《从宫本到你》入选电影旬报年度十佳。本片是他的最新短片，全程英语对白。

木下惠介遇上黑泽明的剧本，分明一部喜剧，越看下去越是人性和命运的交响曲。喜剧的前提和开篇，滑稽贪婪的房屋经纪要赶走租住其目标破房子的穷画家，跟情妇搬到画家楼上见步行步。不正经的情妇给楼下的开心快活人天天小姐前小姐后，叫得真以为自己是大家闺秀了，谁知烦恼就这么开始。当画家 的模特儿本是美事啊，给那眼睛望着真如沐在清澈河水里，但善良的眼神无声无息变了穿心箭，用心做小姐原来好痛苦。楼上叹世界楼下捱世界，孰是天国孰是地狱，就是吊诡。 @Summer IFF 2012 　　From a script by his more widely recognised peer, Kurosawa Akira, Kinoshita Keisuke constructs a sensitive examination of an affluent but spiritually bankrupt real estate broker forced into a fresh outlook on life by an impoverished but enlightened artist. Intending to turn a tidy profit renovating a crumbling house, the broker tries to drive the artist and his family out of the home by moving his bawdy mistress into it. The plan starts to splinter when she agrees to sit for a portrait. Kinoshita deftly balances humour and drama for an astute reflection on art, reality, commerce, and fundamental humanism.

This movie is a collection of still pictures of residents of Russian countryside. Not a single word. Only long look into the camera. Landscape. Flow of time.