In an episode that occurs halfway through Tarrafal, Cape Verdean immigrant José Alberto, having just received his expulsion notice, encounters the elderly, displaced Fonthainas resident Ventura waiting on the side of a dirt road as his friend, Alfredo tries in vain to catch rabbits by thrashing random bushes with a wooden club. In a way, the idea of silent, enduring landscapes as figurative intersections for other unfolding - and often converging - human stories (a recurring theme in José Luis Guerín's cinema as well) may be seen as a metaphor for Pedro Costa's densely layered themes of dislocation and statelessness. As subsequently revealed in The Rabbit Hunters, Alfredo, too, is homeless, resorting to a life in the streets after having been thrown out of the apartment by his wife. In Tarrafal, this converging image of forced - and implicitly traumatic - displacement and exile is established in the opening images of José Alberto's ironic inquiries to his mother over the derelict conditions of their ancestral houses in Cape Verde from his own ramshackle home in the slums. As the conversation morphs from the neglect and inhabitability of their beloved, deserted homes that recalls the reclamation of abandoned ghost houses in In Vanda's Room, to the strange tales of a blood-sucking phantasm who foretells a person's hour of death by surreptitiously leaving letters in the most mundane of hiding places to be subsequently retrieved at the time of their immutable appointment - an impersonal, life-altering communication that alludes to the state's arbitrary dispensation of deportation and eviction notices in modern day Portugal - Costa illustrates a sense of anonymous interchangeability among the transitory, drifting souls of Tarrafal. Visually, this sense of surrogacy and transplantation is reflected in the repeating angular doorway view of José Alberto's house: first, in the solitary image of José Alberto facing away from the camera as he sits on a wooden plank to smoke, then subsequently, in a reframed shot of Ventura and Alfredo seated on the same plank looking out into the neighboring town, commenting on the profound transformation of the once desolate landscape (note Alfredo's humorous misidentification of stray cats as rabbits that further reinforces their seeming interchangeability). Moreover, intrinsic in José Alberto's sad tale of requesting a work release to single-handedly bury his estranged father, and the rabbit hunters' conversation over their mistreatment and death at the hands of authorities is the specter of Tarrafal's unreconciled history as a prison camp where inmates were tortured and relegated to die a slow death. Composed as skewed, frame within frame stationary shots that evoke the acute angles and distanced address of Straub/Huillet, these parallel testimonies of dislocation, separation, entrapment, and fatedness unfold through supplanted images of interchangeable, moribund, drifting ghosts that integrally reflect their own erasure and social invisibility.

讲述的是一名邮递员的故事，她写了一首广受欢迎的歌曲。这是斯大林最喜爱的电影。

《法尔比克》（Farrebique ou les quatre saisons，乔治·鲁吉埃，1946年|92分钟|35毫米|黑白|有声）以搬演的手法记录了法国南部普罗旺斯地区一户农民的生活。在一个叫固特兰的村子里，法勒比克一家筹划着如何过冬。他们讨论是否修缮年久失修的祖屋，年迈的父亲固执己见，坚持不要破坏祖屋的完整性。从这个简单而富有戏剧性的家庭争论开始，通过四季的更迭，影片展现了法国一户普通农民的日常生活（本片的完整片名为“法尔比克或四季”）。本片导演乔治·鲁吉埃（Georges Rouquier，1909—1989）生于本片所描绘的法国南部，在这部向故乡致敬的影片里，他通过非职业演员的表演重现了法国南部乡村生活，呈现给观众的真实并非严格意义上的纪录电影的真实，而是更加内在富有诗意的真实。本片可以说是法国版的《北方的纳努克》，鲁吉埃拍摄本片时曾经受到美国纪录片大师罗伯特·弗拉哈迪的启发。本片荣获1946 年戛纳电影节评委会大奖和法国电影大奖。38年后，鲁吉埃重游故地重访故人，拍摄了本片的续集《比克法尔》（Biquefarre，即将原片名的两个音节颠倒过来，本片又名《38年后》，荣获1983年威尼斯电影节评委会大奖）。此外，鲁吉埃还当过演员，在科斯塔—加夫拉斯导演的影片《Z》中扮演总检察官。

夜幕降临，一架四引擎飞机在机场着陆，走下飞机的是唯一的乘客乔•法尔什——作为法尔什犹太家族最后的幸存者，自从他1938年离开柏林，至今已有四十个年头。在机场到达大厅里等待着乔的，是包括父母、姐妹、兄弟等在集中营丧命的死去的家族以及乔之前所深爱、最终在柏林的轰炸中丧命的纳粹分子的女儿莉莉。一场跨越生死世界的庆典与邂逅就此展开。本片是比利时著名导演组合达内兄弟的剧情片处女作。（小易甫字幕组）

Based upon the true story of Olga Benário, the German-born wife of Brazilian communist leader Luís Carlos Prestes. During the dictatorship of Getúlio Vargas (1930-1945) she was arrested and sent to Nazi Germany, where she died in a concentration camp. When World War II began, Vargas decided to uphold the Allies. 　　故事梗概： 　　德国犹太女共产党员奥尔加因为在魏玛时期的德意志领导革命暴动比较出色，被组织上派到苏联学习深造，在那里，她接受了一个任务，假装夫妻护送巴西进步青年卡洛斯回巴西组织革命。路上两人彼此吸引，卡洛斯对奥尔佳一见钟情，奥尔佳虽对卡洛斯也新生好感，但革命的重担提醒她这并不是儿女情长的时候。随着时间的推移，隐忍着的感情终于爆发。二人假戏真做，共同的革命理想使他们产生了真挚的感情并很快结合在了一起，而奥尔佳也决定留在巴西，和丈夫卡洛斯一起并肩战斗，为解放人民做着艰苦地努力。 　　但是，巴西的革命形势非常残酷，共产党人不但遭到了反动当局的无情杀戮，还被同伴出卖。因重要资料的暴露，很快奥尔佳和丈夫就被捕了。在监狱里，革命战士们遭到惨无人寰的折磨。而这时，奥尔佳发现自己竟然怀了卡洛斯的孩子。她既兴奋又悲伤，担心孩子的将来。对于这样一名重要的共产分子，纳粹怎会放过。巴西当局为了讨好德国，冷血地把身怀六甲的奥尔佳遣返回犹太人正遭受灭顶之灾的德国，与丈夫从此失去联系。 　　在集中营里，奥尔加生下了一个女儿，卡洛斯的母亲想尽一切办法把婴儿救出了集中营，却未能救出奥尔佳。奥尔佳此时十分难过，女儿的安危让她牵肠挂肚。在狱中的奥尔佳一直坚持与狱友们一起抗争，不放过任何一个得到自由的机会最后。但苦于势单力薄，计划一直没有成功。几年后，奥尔佳收到了丈夫了来信，得知女儿健康地成长着，心中燃起了希望。但最终，她和千千万万二战时期不幸的犹太人一样，在毒气室死去。卡洛斯在1945年大赦中被释放，直到那时他才听到奥尔佳逝世的噩耗，几年后他和女儿收到了奥尔佳最后的那封信。 　　精彩视点： 　　这是一部全方位反映德国纳粹集中营女战俘的作品，场面具有震撼力，故事跌宕起伏，情节引人入胜，人物刻画栩栩如生。它以波兰奥思维辛集中营为背景，塑造了苏军女战俘奥尔佳等人在身陷囹圄的情况下，坚持同纳粹党卫队进行坚决斗争的故事。所有的故事都真实的。 　　为了拍好这部电影，导演考证了第二次世界大战中诸多战役、战例，用大量的战争史实为背景，以现代人的眼光，审视已经逝去的战争往事，浓墨重彩地刻画了纳粹党卫队上校军官瓦尔德·朱力、苏联女战俘奥尔佳等人物形象。 　　3月7日 22：04 CCTV-6播出

Falcón is a brilliant detective whose personal and professional life is compromised by dark secrets from the past.

这是一部非常风格化的作品，主角是一名年轻的威尔士骑士，他来到一处神秘的古堡，在那里他见到了圣杯的幻像，但他自己却没有意识到；次日清晨，古堡人去楼空，骑士继续出行，当他猛然醒悟到自己看到了圣杯再回去时，古堡已经消失，于是他只能继续他的圣杯寻访之旅。影片完全在摄影棚内拍摄，布景故意做得很“假”，而且台词和动作多有重复，颇有一点曲艺的效果。

Plot Summary for 　　Parsifal (1982) 　　Richard Wagner's last opera has remained controversial since its first performance for its unique, and, for some, unsavory blending of religious and erotic themes and imagery. Based on one of the medieval epic romances of King Arthur and the search for the holy grail (the chalice touched by the lips of Christ at the last supper), it recounts over three long acts how a "wild child" unwittingly invades the sacred precincts of the grail, fulfilling a prophecy that only such a one can save the grail's protectors from a curse fallen upon them. Interpreters of the work have found everything from mystical revelation to proto-fascist propaganda in it. Hans-Jurgen Syberberg's production doesn't avoid either aspect, but tries synthesize them by seeking their roots in the divided soul of Wagner himself. The action unfolds on a craggy landscape which turns out to be a gigantic enlargement of the composer's death mask, among deliberately tatty theatrical devices: puppets, scale models, magic-lantern projections. The eponymous hero is sung by the specified tenor voice (Reiner Goldberg) but mimed on screen by a male and a female performer alternately, reflecting what the director takes to be the creator's own sexual conflicts. Syberberg's pacing, dictated by the majestic pace of Wagner's score, is slow, but enlivened by constant subtle shifts in point of view, and memorable performances by actress Edith Clever as the villainess/heroine Kundry (sung by Yvonne Minton), orchestra conductor Armin Jordan as the remorseful knight Amfortas (sung by Wolfgang Schoene), and Robert Lloyd (the faithful retainer Gurnemanz). 　　Summary written by Roger Downey