1999年世纪末，一颗印度的核子卫星即将坠地，地球上一片恐慌，视之为世界末日的到临。住在巴黎的女子克蕾儿（Solveig Dommartin饰）在一次离开男友尤金（Sam Neill饰）的浪游中，认识疑为工业间谍的崔佛（William Hurt饰），并且深深为之着迷。一 次车祸意外中，克蕾儿认识二名抢匪，受托运送大批赃款，克蕾儿开始出发去寻找迷一样的人物崔佛。他们的足迹遍布四大洲：从尼斯、巴黎、柏林、里斯本、莫斯科、北京、东京、追逐到旧金山、雪梨，最后到达澳洲中部荒芜的库柏培地原住民生活区。过程中，克蕾儿终于知道崔佛的本名是山姆法柏。他不是工业间谍，而是一位科学家的儿子。许多私家侦探追逐他的原因是老法柏（Max von Sydow饰）制造了一个可以让盲人看见的摄影机。为的是要让山姆目盲的母亲（Jeanne Moreau饰）可以看见她的亲人。就在一群人汇集澳洲峡谷的时候，核子卫星被美国打下，核磁波干扰了所的电器设备，一切都恢复原始的状态。外头的世界不知是生是死？这群人在地下实验室里开始了一连串超越人类科技的实验，数字摄影转换成脑波、再转换成影像的实验成功，终于让山……

一个男人和一个女人开着一辆野营车在世界各地旅行。尼吉是一位充满热情的摄影师，他挚爱的妻子安妮特却因二十年前的意外而高位截瘫，脖子以下都无法动弹。尽管如此，两人依然一往无前，与生活斗智斗勇，从痛苦中找寻意义。然而，当两人的生活现状发生巨变，他们的感情是否也会遭遇波折？带着好奇与思考，《永远与永恒》的导演试图在影片中找出一条万全之策。

影片讲述美籍华人吴菲，她沿着汉江来到汉水南岸一座有着三百年历史的古老村落，寻找祖母的故乡的故事。这也是一部以外来的、世界的眼光，重新打量和解读中国传统的“道法自然”，展现中国农耕文明及其在现代文明中的启示和意义的影片。 　　电影类型为公路片的外壳，文艺片的内核，以故事情节自然推动探讨深层次人类永恒的追问：我们到底在寻找什么，什么样的世界才是我们想要的世界，我们从哪里来，要到哪里去？ 　　美籍华人吴菲，生活一直游走在支离破碎的现实与超现实的梦境中不能自拔，她对故乡的思念、对爱情的不确定，前途的迷惘……种种情愫混杂在一起，彼此纠缠，终于有一天，她按照祖母留下的藏头诗，来到中国，沿着长江寻找故乡，她看见了在河水边的长桌宴，百岁通神的老人……以及三百年了依然飘着稻花香的“道法自然”修建的不需要人工灌溉的梯田，她看见了自己从来没有见过的世界，也找到了内心的困惑所在，走出了迷惘。 　　电影风格以写意的镜头为主，将司空见惯的场景拍摄得诗意，吴菲走在一个个精选的场景中像是走在一个又一个梦中，唯美却又真实，演员表演风格清新、自然，与人物所处的环境相得益彰，不动声色地展现人物的内心世界，色彩较好地呈现人物之间矛盾与冲突，强化每一个戏剧场面的情绪，为人物服务。 　　台词以诗意哲理的对话，几首短诗作为旁白，呈现女主的内心世界，音乐除了烘托剧情需要外，以写意的、轻盈的为主，电影结构一气呵成。

During a flight, passengers confront their aspirations, frustrations, fears, wishes and fears, mixing up reality and fiction. 　　Several characters board a plane: a soccer team, a football manager, a decrepit old man, a group of nuns and an advertinsing girl. Dreams, delusions, ideas and concrete situations related or not an individual to another. Archive scenes of war, famine and religious pilgrimages interleave to a mythical woman Nature. 　　fiction, 35 mm, pb, 95 min, based on sequences in the chapter "O delírio" of "Memórias póstumas de Brás Cubas" de Machado de Assis. 　　Fernando Cony Campos supported originality in artistic creation. He conceived it in terms of proposal, perspective, viewpoint, style, means and whatever could help form a distinctive vision. As personalities like Jean-Luc Godard or Glauber Rocha had emerged, it was up to the filmmaker to seek an alternate path to theirs, though he might fall short with the possible geniality of either. 　　This proposition alone would enable us to bring him closer to the experimental sensitivity which would eventually explode at the end of the 60s. The contact points, however, exceeded the merely shared principles. Although largely a result of a poor, long, full of setbacks production, “Voyage to the End of the World” already had in the midst of its original design elements which distinguish it as one of the immediate precursors of “Udigrúdi”. Particularly, the overlapping of various levels of enunciation and of various forms of contemporary language gradually destroys the idea of a narrative, even a sophisticated narrative as the one presented by the New Cinema directors. 　　Furthermore, if the ideological universe of the film still enables its inclusion in the group of the New Cinema, there’s a refusal to purely and simply condemn the means (or media), as they are away from mass culture. Counterculture may be alienated, but it is expressive in its constituents and particularly indicative of a state of things. Political disillusionment coexists with the chaos of the inevitable transformation. Not surprisingly does the work develop from the casual meeting of a pocket book of “Posthumous Memoirs of Brás Cubas” at a newsstand and continues incorporating fascism, consumption, mysticism, poverty... and, in an innovative, emblematic way, ”Tropicalism” (the film is full of that movement classics "Joy, joy", "Soy loco for ti America" and "Tropicália".) 　　At some point, you hear a possible self-definition of the work: "The biggest error in this movie is you, you viewer. You’re in a hurry to grow old. And the film goes slowly. You love the direct, nourished narration. The regular, fluent style. And this film and my style are like cypresses which turn left and right, move and stop, mumble, bicker, laugh, threaten the sky, slip and fall. And they fall."

During a flight, passengers confront their aspirations, frustrations, fears, wishes and fears, mixing up reality and fiction. 　　Several characters board a plane: a soccer team, a football manager, a decrepit old man, a group of nuns and an advertinsing girl. Dreams, delusions, ideas and concrete situations related or not an individual to another. Archive scenes of war, famine and religious pilgrimages interleave to a mythical woman Nature. 　　fiction, 35 mm, pb, 95 min, based on sequences in the chapter "O delírio" of "Memórias póstumas de Brás Cubas" de Machado de Assis. 　　Fernando Cony Campos supported originality in artistic creation. He conceived it in terms of proposal, perspective, viewpoint, style, means and whatever could help form a distinctive vision. As personalities like Jean-Luc Godard or Glauber Rocha had emerged, it was up to the filmmaker to seek an alternate path to theirs, though he might fall short with the possible geniality of either. 　　This proposition alone would enable us to bring him closer to the experimental sensitivity which would eventually explode at the end of the 60s. The contact points, however, exceeded the merely shared principles. Although largely a result of a poor, long, full of setbacks production, “Voyage to the End of the World” already had in the midst of its original design elements which distinguish it as one of the immediate precursors of “Udigrúdi”. Particularly, the overlapping of various levels of enunciation and of various forms of contemporary language gradually destroys the idea of a narrative, even a sophisticated narrative as the one presented by the New Cinema directors. 　　Furthermore, if the ideological universe of the film still enables its inclusion in the group of the New Cinema, there’s a refusal to purely and simply condemn the means (or media), as they are away from mass culture. Counterculture may be alienated, but it is expressive in its constituents and particularly indicative of a state of things. Political disillusionment coexists with the chaos of the inevitable transformation. Not surprisingly does the work develop from the casual meeting of a pocket book of “Posthumous Memoirs of Brás Cubas” at a newsstand and continues incorporating fascism, consumption, mysticism, poverty... and, in an innovative, emblematic way, ”Tropicalism” (the film is full of that movement classics "Joy, joy", "Soy loco for ti America" and "Tropicália".) 　　At some point, you hear a possible self-definition of the work: "The biggest error in this movie is you, you viewer. You’re in a hurry to grow old. And the film goes slowly. You love the direct, nourished narration. The regular, fluent style. And this film and my style are like cypresses which turn left and right, move and stop, mumble, bicker, laugh, threaten the sky, slip and fall. And they fall."

公元2629年 ，生化人代替人类成为地球的主宰，生化人的社会井然有序，每一个生化人在社会中分工明确，身为“执行者”的Adam-0105号接到了“系统”发来的指令—————销毁另一个生化人，然而这将成为他职业生涯中唯一失败的任务... 　　观看在线链接： 　　https://b23.tv/KwSeBl

公元2629年 ，生化人代替人类成为地球的主宰，生化人的社会井然有序，每一个生化人在社会中分工明确，身为“执行者”的Adam-0105号接到了“系统”发来的指令—————销毁另一个生化人，然而这将成为他职业生涯中唯一失败的任务...

1943年8月，二战正是如火如荼之时。隶属美军的潜艇虎鲨号在返航途中接到命令，要求他们前去营救一艘遇袭英国军舰上及船上的幸存者。由于遭到鱼雷攻击，英国军舰上300多人几乎悉数遇难，只有3个人侥幸逃生，其中包括一名性感美丽的女护士克莱尔·佩基（奥莉维娅·威廉姆斯 Olivia Williams 饰）。克莱尔的到来让这群正处在青春壮年的美国军人兴奋不已，不过有些人却隐隐感到不安，他们相信女人上船会为潜艇带来灾难。 　　也许迷信并非空穴来风，自从幸存者到来后，虎鲨号便不断遭遇各种离奇故障，更遭到德军的猛烈攻击。然而诡异事件并未就此结束，随着磨难的涌现，隐藏的真相也渐渐浮出水面……