Arabeskebi Pirosmanis temaze (Arabesques on the Pirosmani Theme) 　　(1985), 25mins 　　A short mediation on the work of Georgian painter Niko Pirosmaniszvili (1862-1918). 　　Sergei Paradjanov was born in Tblisi, Georgia (former Soviet Union) in 1924. In 1964 he was able to direct 'Shadows of our Forgotten Ancestors'; a boldly conceived and astonishingly photographed blend of enchanting mythology, hypnotic religious iconography, and pagan magic introducing the world to a new idiosyncratic cinema talent. 　　In 1968 he created one of many masterpieces; "Sayat Nova" which was promptly banned by Soviet authorities. It was renamed (and re-edited without his approval) and entitled "The Color of Pomegranates". For religious sympathies and lack of conformity to the strict socialist realism of the former Soviet union Paradjanov was arrested in December of 1973 and sentenced to five years imprisonment - residing in various hard-labor camps. 　　An important group of world-famous filmmakers, artists and activists (including notables such as Federico Fellini, Tonino Guerra, Francesco Rosi, Poet Louis Aragon, Mikhail Vartanov, Giulietta Masina, Marcello Mastroianni and Bernardo Bertolucci) persistently protested Paradjanov was eventually released after 4 years. His activity remained monitored and he was limited by the Soviet authorities but 15 years after "Sayat Nova" he created "The Legend of the Suram Fortress"; a folk tale and adapted from the novella by Daniel Chongadze. Once again the cinema world was peering inside viewing vividly poetic and poignant imagery. 　　In 1986 Parajanov made yet another multi-award winning film, Ashug-Karibi (1988), based on a tale by Mikhail Lermontov, and he dedicated the film to his friend Andrei Tarkovsky. His stay in prison had crushed his health, and he passed away in July of 1990 of cancer, leaving the world a rich and unforgettable blend of unique and meaningful cinema but his legendary films live on and his picture adorns a postage stamp in Armenia.

《皮罗斯马尼》(1969)是他最著名的作品，也是格鲁吉亚最令人惊奇的作品。 　　影片模仿皮罗斯马尼的绘画，以朴素、风格化、宛如置身幻境的画面，叙述了这位画家的生平。 　　影片以缩影的形式和独特的节奏表现了这位艺术家的忧郁、孤独和缺乏知音的生活，几乎没有对白；但同时，影片却揭示了画家的内心世界，表现了他心驰神往的绘画主题，竭力去探索他的性格。这部影片的特点，就是具有某种庄严的情调，对最微小的细节也备加重视。

一群胆大的雪上项目爱好者闯入一座偏远的塔斯马尼亚大山，但是一个灾难导致一名队员丧生。他们的到来诱发了这片土地上古老的土著诅咒，巨大的塔斯马尼亚恶魔向他们发动攻击。

塔斯马尼亚西海岸不宜人居，其暗藏的美似乎也为世人遗忘。那里虽然像是 　　装有灰蓝色滤镜般沉闷、潮湿，却生活着千奇百怪的居民。本片摄制组前往 　　该区域探访了许多“鬼镇”，揭开了那些对失去与疏离习以为常的人们的面 　　纱。本片通过搜罗各种故事，带领观众在那些仍有人居与业已废弃的城镇间 　　穿梭，踏上了一场时光之旅。那里的居民比其他地方的人更加真实地感受到 　　时间的流逝。他们各自怀着不同的希冀，讲述了这个关于身份与意义的故 　　事。这故事诉说了西海岸悠长的历史，驱使着人们进一步探索。你将发现， 　　即便在地球上最偏远之地，亦或是人类抛弃之地，也会有人的痕迹。

"The Theme" is a film that had to stay on the shelf for almost ten years because of its "theme". Mikhail Ulyanov plays Kim Yesenin, a disillusioned and cynical playwright who uses the system by writing the conformist plays and enjoys the benefits of being the officially recognized and appointed "great Soviet writer" but who in reality has been used by a system and spent all the talent he ever had in writing the plays that had no artistic value whatsoever. Bitter irony lies in the name of the character: Sergei Yesenin was a real life enormously talented, widely popular and beloved Russian poet who committed suicide at the age of 30 in 1925 because he could not fit in the Soviet Russia. Kim Yesenin in the movie suffers the writing block and arrives to the small provincial town with a friend and a young mistress in search of inspiration. He meets an attractive, intelligent and well educated museum guide named Sasha (Inna Churikova never looked so beautiful and sophisticated and I finally understood why Panfilov always had been fascinated by her face, never conventionally pretty) who used to be a big fan of his earlier works but has a lot of unflattering things to say about his officially praised outings. Sasha is in love with a talented historian who had made a very difficult and life changing decision to emigrate from the Soviet Union. He had lost his job by becoming a dissident and had to work as a gravedigger to support himself while waiting for permission to leave the country. Those who never had to emigrate from their country knowing that they might leave forever and never be allowed to go back to see their loved ones and the places dear to their heart again would not fully understand why Panfilov's film had to stay on the shelf for almost ten year after it was completed. It was released only during the "perestroika" in 1987 and I saw it then. I respect Panfilov for his siding with the real artists rejected by the system but his film is not only a courageous statement against the conformity suffocating cultural life under the Brezhnev regime which would be later called "period zastoya" or "stagnation", it is a memorable work of cinema with very good performances from his muse, Inna Churikova, Mikhail Ulyanov, and supporting cast.

"The Theme" is a film that had to stay on the shelf for almost ten years because of its "theme". Mikhail Ulyanov plays Kim Yesenin, a disillusioned and cynical playwright who uses the system by writing the conformist plays and enjoys the benefits of being the officially recognized and appointed "great Soviet writer" but who in reality has been used by a system and spent all the talent he ever had in writing the plays that had no artistic value whatsoever. Bitter irony lies in the name of the character: Sergei Yesenin was a real life enormously talented, widely popular and beloved Russian poet who committed suicide at the age of 30 in 1925 because he could not fit in the Soviet Russia. Kim Yesenin in the movie suffers the writing block and arrives to the small provincial town with a friend and a young mistress in search of inspiration. He meets an attractive, intelligent and well educated museum guide named Sasha (Inna Churikova never looked so beautiful and sophisticated and I finally understood why Panfilov always had been fascinated by her face, never conventionally pretty) who used to be a big fan of his earlier works but has a lot of unflattering things to say about his officially praised outings. Sasha is in love with a talented historian who had made a very difficult and life changing decision to emigrate from the Soviet Union. He had lost his job by becoming a dissident and had to work as a gravedigger to support himself while waiting for permission to leave the country. Those who never had to emigrate from their country knowing that they might leave forever and never be allowed to go back to see their loved ones and the places dear to their heart again would not fully understand why Panfilov's film had to stay on the shelf for almost ten year after it was completed. It was released only during the "perestroika" in 1987 and I saw it then. I respect Panfilov for his siding with the real artists rejected by the system but his film is not only a courageous statement against the conformity suffocating cultural life under the Brezhnev regime which would be later called "period zastoya" or "stagnation", it is a memorable work of cinema with very good performances from his muse, Inna Churikova, Mikhail Ulyanov, and supporting cast.

改編自《MANILA BY NIGHT》和《JAGUAR》兩部小說，監製 Piolo Pascual一人分演兩位男主角︰沉淪毒海 William重出江湖，招兵買馬，為下一宗毒品大買賣鋪路；Philip為政客當保鑣，以為老闆待他至親，經槍殺事件後才恍然大悟，危機一觸即發。菲國電影界異軍突起，Alix Jr與Raya L. Martin這兩大新晉導演聯手打造馬尼拉的「日」與「夜」，黑白光影之間透視這個城市的光怪陸離，兩個單元標誌著菲國電影新力量。 　　Inspired by Ishmael Bernal's MANILA BY NIGHT, "Day" tackles a day in the life of meth addict William (actor and producer Piolo Pascual), who pursues his next hit while attempting to reconnect with those close to him. "Night" follows Lino Brocka's JAGUAR, telling the tale of Philip (also Pascual), a bodyguard who discovers – perhaps rudely – his true value to his politician employer. A two part indie from young filmmakers Raya Martin and Adolf Alix, Jr., MANILA pays tribute to two of the most influential directors in Philippine cinema.

Napoli, anni cinquanta. Un cantastorie, che abita con la numerosa famiglia in una misera catapecchia, viene sfrattato e se ne va coi suoi familiari per le strade, spingendo il pianino di Barberia, cui sono appese delle canzoni. Un colpo di vento spazza via i fogli e sullo schermo si susseguono gli episodi che formano l'argomento delle canzoni. Dall'arrivo dei mori nel 1300 fino al Secondo dopoguerra. Passano sullo schermo Francesi e Spagnoli, Inglesi e Americani: sembra non sia cambiato nulla attraverso tanti secoli di Storia per Napoli e per i napoletani. Senza perdere del tutto la speranza, il cantastorie continua il suo cammino: prima di allontanarsi nella via accoglie nella sua famiglia un giovane cantante innamorato della figlia maggiore. Riprendono tutti insieme il difficile cammino, con la musica nel cuore e nel cervello...

一名神秘的教师来到了一座外省小镇的学校教书。但这名老师并没有老师的样子，他对事物的看法过于现代和自负。但整座小镇都很喜欢他，喜欢到超乎他的想象。

私家侦探尼克和查理隐居于热带岛屿上，但自从当地人被营地恐怖组织杀害后，二人的平静生活从此被打破。尼克与查理决定亲自捍卫这里的安宁，他们将与犯罪势力斗争到底。