《玛丽在北京》讲述了一位华裔美国女孩利用暑假到北京探亲时的生活点滴。整个节目共分为8个段落，依次为：1. 到达；2. 在家中；3. 长城；4. 果园；5. 天坛；6. 北京烤鸭；7. 北京友谊商店；8. 一路平安。每段表演时长约10分钟。该节目由徐雄雄编写，丁俐丽导演，蔡慎木负责摄影。

Beijing Being is a lyrical, nostalgic exploration of friendship in an ever-changing ever-transient city. Sophie, a young blogger living in the historic lane ways of Beijing, is struggling to accept the abrupt departure of her best friend during a visa crackdown. Sophie makes sense of the rhythm of change, loss, heartbreak and the sheer exhilaration of being young in the best way she knows how - by creating a cabaret on the streets she loves but can never own. 影片将于2015年8月底在加拿大蒙特利尔国际电影节首映。

本剧讲述了北京城乡交界处一村一镇几十年的故事。抗美援朝后，曾是起义人员的赵子午和老兵马出奇回到家乡北苑村。赵家因成分不好，家宅在土改中被分掉，赵子午则被安排到北苑镇派出所当副所长，马出奇当了村支书，而村公所就是赵家老宅的东院。两人虽一路之隔，但登记户口后，赵子午在镇上为城市户口，马出奇在村里归为农业户口，城乡差别立显。随着时代发展，两家人经历了合作化、自然灾害、文革和知青上山下乡，生存状态和命运各不相同，赵子午因历史问题和社会关系问题几落几起，马出奇也险些被抓了典型。两人有时针锋相对，有时却惺惺相惜。改革开放后两人都看到了希望，他们经历了包产到户、下岗再就业、发展市场经济、自主创业，在不同的岗位上朝着小康目标殊途同归。

中央新闻纪录电影制片厂1956年纪录片

外国女人露易丝（杜瑞秋）和北京小伙李天亮（刘涛）的爱情故事

阿郎从热带国家马来西亚来到北京寻父，为的是替母亲讨个公道而回，谁知台湾商人的挑拨，继母的刁难，生父大家庭的排斥，北京姑娘及北京热情的人们对阿郎的援助，令阿郎走也不成，留也不成。他总是笑对人生，一边安慰患重病的母亲，还为其他无辜的人分担忧愁。在他经历了生母撒手人寰，未婚妻远嫁异国，北京姑娘避而不见，所经营的服装厂又被人篡夺，阿郎在北京还能做什么呢？故事情节离奇曲折，扣人心弦。最终，阿郎被祖国日新月异的经济形势和广阔的市场所吸引，在北京开始了自己新的事业。

影片反映一批美国旅游者在我国古老而美丽的首都北京，参观游览中发生的一些有趣故事。在愉快的旅游生活中，加强了中美两国人民的了解，增进了两国人民的友谊。

内德爱他美丽的妻子玛丽，但由于他的性功能障碍无法满足她，无论他怎么努力，都无济于事。有一天他发誓将自己的灵魂卖给魔鬼，以换取他缺乏的男子气概，并提出接受他的提议，魔鬼答应了。内德很快发现自己能够享受他梦寐以求的体验，但不知道魔鬼对内德和他所有的新玩伴有一些可怕的计划......

墨西哥超现实吸血鬼片，导演Juan López Moctezuma是JODOROWSKY大师的好友，曾经参与杨大师多部经典CULT片的拍摄工作。 A beautifull artist (Cristina Ferrare) moonlights as a vampire while in Mexico, killing lovers of both sex. It seems that the only person who has any chance of stopping her reign of terror is her father (John Carradine), who's also a vampire. Model and future TV host Christina Ferrare is a lesbian vampire whose victims are dying to quench her thirst for blood. Mexican authorities and her father (John Carradine) try to come between Ferrare and her next target's neck in this horrifying shockfest. Juan Lopez Moctezuma's MARY, MARY, BLOODY MARY (1975) is one of those movies you watch and, after mentally cataloging all the things wrong with it, realize how cool it really is... mostly because of all the things you thought were wrong with it. Cristina Ferrare is such a Pamprin headache of an actress, as stiff as a celluloid collar, and yet she does create one of cinema's most interesting vampires. In many ways, Mary couldn't be worse at what she does - while the early murder of a man interested in more than her paintings goes off smoothly (Miss Thing slyly sliding a hairpin out of her chignon during female superior sex and using it to lay open his jugular), her next victim (a fisherman, whom she has attempted to drug) nearly fends her off until she takes him down in one of the most ungainly vampire attacks of all time. Elsewhere, Mary proves herself a complete chicken shit in moments of tension, as when she breaks down in big boo-boo tears when confronted on a country road by a mysterious figure clad in black. She's lachrymose, emotionally withdrawn, sexually disengaged and her art sucks... what a perfect portrait of an Ugly Americana spreading the white man's poison south of the border. It's in this context that the cheapness of the production, the harsh 70s decor, the cold, perfunctory performances and the wall-to-wall Muzak score actually begin to seem like grounded artistic choices and have a lot to do with why I keep coming back to this one. MARY, MARY, BLOODY MARY ends in a surprisingly cynical bloodbath of ultraviolence that leaves only the pathetic title character standing... or in reality on her knees sucking the life out of the one person whose love she had relied on to point her to some kind of normalcy. Not enough vampire movies use awkwardness and incompetence as character traits to define their bloodsuckers and that's too bad. George Romero had similar ideas for MARTIN (1976) a year later but portraying vampires as just folks is definitely the horror road not taken.

中央新闻纪录电影制片厂1956年纪录片