After having tortured and sexually assaulted bank teller Noriko Kamimura, psychotic vulvectomizer Takeshi removes and bottles her vulva as a souvenir.

As a child, Kyoko learned latin dance from Jose, a Cuban-American serviceman stationed in Japan. Years later, Kyoko travels to New York to see Jose again. After much searching, she finds Jose, only to discover that he is dying of AIDS and no longer remembers much of his past, including the time he and Kyoko spent together. His last wish is to return to Miami to be with his family, and so Kyoko agrees to drive him, hoping that somewhere along the way, he will remember her.

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《幼稚园》（Kindergarten），1989年，90分钟，彩色，导演Jorge Polaco。法国亚眠国际电影节评审团奖；布鲁塞尔幻想电影节L'Age d'Or奖，瑞士洛迦诺国际电影节特别提及奖，同年入围柏林影展全景单元。 Story of a complicated plot into a love of intrigue and murder in a family of Buenos Aires. Film never released commercially.

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黛安——國王最喜愛的妓女，被囚禁在「鹿園」。她只有一個願望，但這個願望並不是與國王同床共枕，而是迫切希望能逃離她的金鳥籠。某一個夜晚，在國王放下警惕的時候，她決定逃跑。

中港兩代父女，分隔兩地生活，說着兩種語言，身份和人生完全對倒，本來最親密的家人卻也是最陌生的。獨居老人陳永強是觀塘公園的保安員，某天他要陪伴從內地來港的女兒子姍換領新身份證及辦理銀行開戶，二人回到老家又到永強工作的觀塘公園蹓躂，面對鴻溝欲言又止，只能如守望者般巡察觀覷，踟躕不前。夫子自道的導演以靜謐凝視的鏡頭瞻眺鱗次櫛比的香港城市建築，配以收窄又拉闊的畫框沉澱了父女間的滄海桑田。金像影帝太保再度以沉穩肅穆的演出訴盡暮年的孤寂。

Sparkling, masterful début by Kovalov is found-footage compilation of e.g. news items, propaganda material and instruction films. For his directing début, Oleg Kovalov chose a very extravagant experiment. As a basis he took a propaganda film from the fifties, The Case of Corporal Kochetkov, dissected this as it were and gave the naked structure a new substance and new accents by re-cutting the shots and adding documentary material from the fifties, such as newsreel footage of Khrushchev's visit to America and pictures of the visit by Yves Montand and Simone Signoret to Moscow. The film about corporal Kochetkov called on the Soviet citizens to be on their guard and showed how sly the enemy was: for instance it could pose as an innocent girl. Kovalov creams off the emotional froth from this melodrama, deconstructs its codes and subjects it to a thoughtful analysis. For instance he reveals paranoia and spy-phobia, complexes in the 'collective Soviet unconscious' that is still active even in relatively enlightened periods.