《滇藏路纪行》（1978，编导萧树琴，摄影李绍刚、蒋祖武）可以说是一篇优秀的电影散文，这部影片带领观众沿着南起云南大理、途经丽江和中甸、北至西藏芒康的八百公里滇藏公路作了一次生动的旅行。本片编导很久以来就有拍摄散文式纪录片的想法，她在谈到本片的创作过程时说：“我常想我们搞新闻纪录片，能不能也象散文作家写散文那样，选材严，开掘深，在构思上刻意求工，使人看后能够产生联想，感到意味无穷。但又总觉得新闻纪录电影受真人真事限制太大，不能作任何的添枝加叶，很难做到象诗歌与散文那样，抒发人们的情怀。因此，未能积极尝试。”作者在沿着滇藏公路采访之后发现，拍摄散文风格的纪录片是可行的，“但是不能沿用老一套的做法，工农商学兵样样都有，而是要象散文作家写游记性的散文那样，生动描写作者最动情之处，寓主题于即情即景的具体见闻中，以情动人，以景动人，仿佛带着观众作一次生动的旅行，使观众在兴味无穷中体会主题思想。”在拍摄这部影片的过程中，作者抓住每个地方的特点，抒发自己的真挚情怀。

《滇藏路纪行》（1978，编导萧树琴，摄影李绍刚、蒋祖武）可以说是一篇优秀的电影散文，这部影片带领观众沿着南起云南大理、途经丽江和中甸、北至西藏芒康的八百公里滇藏公路作了一次生动的旅行。本片编导很久以来就有拍摄散文式纪录片的想法，她在谈到本片的创作过程时说：“我常想我们搞新闻纪录片，能不能也象散文作家写散文那样，选材严，开掘深，在构思上刻意求工，使人看后能够产生联想，感到意味无穷。但又总觉得新闻纪录电影受真人真事限制太大，不能作任何的添枝加叶，很难做到象诗歌与散文那样，抒发人们的情怀。因此，未能积极尝试。”作者在沿着滇藏公路采访之后发现，拍摄散文风格的纪录片是可行的，“但是不能沿用老一套的做法，工农商学兵样样都有，而是要象散文作家写游记性的散文那样，生动描写作者最动情之处，寓主题于即情即景的具体见闻中，以情动人，以景动人，仿佛带着观众作一次生动的旅行，使观众在兴味无穷中体会主题思想。”在拍摄这部影片的过程中，作者抓住每个地方的特点，抒发自己的真挚情怀。

作过一次临时演员后，小康（李康生）罹患歪脖子的怪病，父亲（苗天）带其四处求医。 　　父亲虽已有妻、子，却是贪恋年轻男孩身体的同性恋者，家庭对他早已名存实亡，已丧失承担责任的能力（或认为并没什么责任要承担），可是对于小康，他又不自觉扮演起传统意义上的“父亲”角色，却也只能是失职的。小康是年轻的同性恋者，可是却并不清楚自己期望从同性处获得怎样一种安慰，父母的貌合神离不但令他对男女关系失掉信心，对同性关系的理解也盲从地认为只是两具肉体的短暂吸引、结合。而作为被丈夫（同时代男人）与儿子（更年轻的男人）同时冷落的母亲（陆筱琳），则只能默默忍受肉体与精神的双重饥渴与孤独。

作过一次临时演员后，小康（李康生）罹患歪脖子的怪病，父亲（苗天）带其四处求医。 　　父亲虽已有妻、子，却是贪恋年轻男孩身体的同性恋者，家庭对他早已名存实亡，已丧失承担责任的能力（或认为并没什么责任要承担），可是对于小康，他又不自觉扮演起传统意义上的“父亲”角色，却也只能是失职的。小康是年轻的同性恋者，可是却并不清楚自己期望从同性处获得怎样一种安慰，父母的貌合神离不但令他对男女关系失掉信心，对同性关系的理解也盲从地认为只是两具肉体的短暂吸引、结合。而作为被丈夫（同时代男人）与儿子（更年轻的男人）同时冷落的母亲（陆筱琳），则只能默默忍受肉体与精神的双重饥渴与孤独。

Film takes place at the end of XIX century in a tiny colony in a Yakut taiga. 　　A young healthy girl (a thief hunter) who occasionaly visits the village falls in love with one of the patients, a young one, and bears his child. But suddenly his wife appears, and in this strange love triangle the tragedy becomes ripe...

« Entre Pyrénées et Atlantique coulent des rivières puissantes qu’on appelle les gaves. Les champs de maïs les assoiffent, les barrages bloquent la circulation du saumon. L’activité humaine bouleverse le cycle de l’eau et la biodiversité de la rivière.» 　　« Pour voir la rivière aujourd’hui, il faut filmer plus large que la rivière, il faut filmer le bassin versant, le cycle de l’eau. Il faut la faire exister dans ses extensions souterraines et aériennes, les nappes et les nuages, mais aussi la chercher jusque dans le champ de maïs, la frayère à saumons, les retenues qui la bloquent. Il faut la filmer suspendue entre mémoire d’un passé fastueux et peur d’un avenir desséché. Filmer les gaves, c’est filmer notre monde dans son intrication de beauté et de désastre. » (Dominique Marchais)

« Entre Pyrénées et Atlantique coulent des rivières puissantes qu’on appelle les gaves. Les champs de maïs les assoiffent, les barrages bloquent la circulation du saumon. L’activité humaine bouleverse le cycle de l’eau et la biodiversité de la rivière.» 　　« Pour voir la rivière aujourd’hui, il faut filmer plus large que la rivière, il faut filmer le bassin versant, le cycle de l’eau. Il faut la faire exister dans ses extensions souterraines et aériennes, les nappes et les nuages, mais aussi la chercher jusque dans le champ de maïs, la frayère à saumons, les retenues qui la bloquent. Il faut la filmer suspendue entre mémoire d’un passé fastueux et peur d’un avenir desséché. Filmer les gaves, c’est filmer notre monde dans son intrication de beauté et de désastre. » (Dominique Marchais)

A young woman and man meet for lunch in restaurant nestled in the mountainous regions of Lebanon. Suddenly war seems to break out all around them. They are forced to retreat into nature.

The River, of which the central theme is desire, is the most erotic film of the silent cinema. Wreathed with the laurels of worldwide success and with an Oscar for 7th Heaven, American filmmaker of Italo-Swiss origin, Frank Borzage (1894-1962) conceived this work with complete artistic freedom. The immense natural sets were built in the open-air on a lot at Fox Film in Westwood, Los Angeles. 　　The initial situation is of an Eden-like simplicity: the initiation into love of a male virgin, a man of the woods coming into contact with a mysterious female urbanite about whom we learn but little, other than that she "has lived life to the full" and that she is always monitored by the crow belonging to her lover who was imprisoned for murder. There follow the hazards of seduction and refusal, ruses and inhibitions, endless desires confessed, with many hitches, right up to metamorphosis into love. The whole narrative unfolds on the banks of a river which reveals the nudity of the bodies (sex), the mortal perils of the vortex (passion), the purification and promise of a harmonious fulfillment (the sea.) 　　When it first came out the film was pursued by misfortune: not quite knowing how to promote it, Fox disguised the work with a musical prologue and a spoken word ending, filmed behind the back of the cineaste (the 'talkie' version was unseen outside of the United States). The strong sensuality of the images shocked puritan America: The River was forbidden a screening in many States and a tacit consensus limited its distribution. Many newspapers passed over the film in silence, boycotted the publicity, and even the « New York Times » only granted it a small, embarrassed paragraph. 　　In Europe the reception was warmer and the French movie-goers, amongst them the young Marcel Carné, praised the film to the skies (7 weeks exclusive in Paris). The surrealist milieus around André Breton saw in this Woman With Raven, as which the film was distributed in France, more true audaciousness and insight than in the entire French avant-garde. For the duration of the season, the disturbing Mary Duncan (1895-1993) provoked flights of fantasy under the same heading as Louise Brooks. Then the film disappeared, became a legend. It is rumoured to have been lost, just like the other mythic title from Fox, Murnau's 4 Devils filmed at the same time.

Film takes place at the end of XIX century in a tiny colony in a Yakut taiga. 　　A young healthy girl (a thief hunter) who occasionaly visits the village falls in love with one of the patients, a young one, and bears his child. But suddenly his wife appears, and in this strange love triangle the tragedy becomes ripe...