A short film made for french TV, En Profil dans le Text, by Eric Rohmer. Dealing with the salons of Diderot.

"Until Rameau's Nephew... no one has exhibited a film that deals so thoroughly with the range of perceptual problems elicited by the sound cinema." (M. Keller, Chicago Film Centre) 　　"...an achievement of the originality and brilliance of Wavelength. Snow embraces the problems on intimacy of language and thought with such variety, clarity and invention and high humour that again he seems to have made a film out of which an entire future movement could be mined." (P. Adams Sitney, Soho Weekly News) 　　I started scripting this film in February 1972 and writing, shooting, mixing, editing and continued till September '74. Some ideas used in it date from 1966 when I recognized in myself the ambition to make an authentic Talking Picture i.e. true to its description, it moves for its content from the facts of the simultaneities of recorded speech and image; it is built from the true units of a 'talking picture' the syllable and the frame. All the possible image/sound relationships centering around people and speech generate the movie-audience relationships: a wide range of emotional possibilities, the experience of seeing/hearing this film.'Speech', 'Language', 'Culture' - their source, their nature...recorded, imaged, prove (?) that in this case a word is worth 1000 pictures. (Michael Snow) 　　Scripted and Directed by Michael Snow. Shot primarily in Toronto and New York by himself, Keith Lock, Babette Mangolte, David York and others.

"Until Rameau's Nephew... no one has exhibited a film that deals so thoroughly with the range of perceptual problems elicited by the sound cinema." (M. Keller, Chicago Film Centre) 　　"...an achievement of the originality and brilliance of Wavelength. Snow embraces the problems on intimacy of language and thought with such variety, clarity and invention and high humour that again he seems to have made a film out of which an entire future movement could be mined." (P. Adams Sitney, Soho Weekly News) 　　I started scripting this film in February 1972 and writing, shooting, mixing, editing and continued till September '74. Some ideas used in it date from 1966 when I recognized in myself the ambition to make an authentic Talking Picture i.e. true to its description, it moves for its content from the facts of the simultaneities of recorded speech and image; it is built from the true units of a 'talking picture' the syllable and the frame. All the possible image/sound relationships centering around people and speech generate the movie-audience relationships: a wide range of emotional possibilities, the experience of seeing/hearing this film.'Speech', 'Language', 'Culture' - their source, their nature...recorded, imaged, prove (?) that in this case a word is worth 1000 pictures. (Michael Snow) 　　Scripted and Directed by Michael Snow. Shot primarily in Toronto and New York by himself, Keith Lock, Babette Mangolte, David York and others.

金发的双性恋Mateo，性感的Maria，以及内心充满冲突的同性恋Angel。在现实生活中各种体验是他们寻找自我的手段。 金发的双性恋Mateo，性感的Maria，以及内心充满冲突的同性恋Angel。在现实生活中各种体验是他们寻找自我的手段。

戏剧是镜，戏剧是梦。 一方舞台，透射你我的自我与梦想。

The world of a young theatre director in a small Czech town crumbles after he decides to realize his dream of adapting an overly ambitious play based on Euripides' classic 'Fedra'. He loses his two main actors during rehearsals and the municipality threatens to cut funding due to the play's political content. Petr falls for young actress Karolina, playing the lead. Tensions at his home grow: he's not much of a present husband and a father. Shortly before the premiere both women leave him. His wife's had enough and Karolina simply disappears. Petr attempts to save his masterpiece, but the play is a fiasco. Devastated, he tries to regain last pieces left of his life. But is it far too late?

The world of a young theatre director in a small Czech town crumbles after he decides to realize his dream of adapting an overly ambitious play based on Euripides' classic 'Fedra'. He loses his two main actors during rehearsals and the municipality threatens to cut funding due to the play's political content. Petr falls for young actress Karolina, playing the lead. Tensions at his home grow: he's not much of a present husband and a father. Shortly before the premiere both women leave him. His wife's had enough and Karolina simply disappears. Petr attempts to save his masterpiece, but the play is a fiasco. Devastated, he tries to regain last pieces left of his life. But is it far too late?

这是一部关于美国社会活动家佩德罗·萨莫拉的半传记电影。年幼的佩德罗（亚历克斯·洛那兹 Alex Loynaz 饰）随父母从古巴偷渡到美国，直到十六岁前都一直健康的成长着，直到因跟同性发生未带安全套的性行为而改写一生。在血检被查出HIV阳性后，他成为了少年活动家和教育者。他向人们宣传保险套的重要性，教人们正确看待艾滋病。1993年佩德罗参加了真人秀“真实世界”，和6个年轻人在一栋大宅共同生活。他的特殊情况引发很多偏见和恐慌，但也让他赢得了真正的友谊和尊重，并最终在旧金山寻找到挚爱。在节目后期，艾滋并发症已经将佩德罗折磨得无法说话和行动，但他坚持录完最后一个镜头。1994年11月11日，在“真实世界”大结局播出的当晚，佩德罗永远阖上了眼睛...... 　　在社会对艾滋充满误解的90年代，佩德罗是唯一公开露面的HIV携带者，他更是第一个参加真人秀节目的“艾滋男孩”。他勇于面对镜头，为无数饱受歧视的人争取发言权，很大程度的改写了人们对艾滋洪水猛兽的印象。他的努力和执着甚至打动了美国总统克林顿，由白宫帮助他实现了和留守古巴的亲人重聚的愿望。他的勇气、决心和爱让他成为了现代社会的平民英雄。

Pedro gets home at dawn. Before the young boy falls asleep, his lonely mother drags him to the beach.

一位中年电工与母亲和他兄弟一家住在一个偏远村庄。有一天他不小心犯下了非常丢人的事情，村民们因此情绪受到了冲击并做出了出人意料的举动。