Like the art cinema of David Lynch or Luis Bunuel (not to mention Harrington's most immediate influence/mentor, the long-venerated celluloid poet Maya Deren, whose 1943 short Meshes of an Afternoon clearly turned the budding filmmaker Harrington on to the medium's wider-than-imagined possibilities), Harrington's films aren't abstract so much as they, very much like a dream (the closest experience to cinema real life offers, and offered long before movies ever existed), consist of narratives with recognizable, "real" human figures and places where some kind of story is happening, except with a disconcerting adherence to their own unpredictable, irrational internal logic and sign systems. In 1946's 13-minute Fragment of Seeking, his first completed work as a mature filmmaker, a twentysomething Harrington himself appears as the bespectacled, fedora'd, trenchcoat-clad, faintly androgynous (he resembles Truman Capote a bit) young man who, when he enters through an imposing gate into the courtyard of a beautiful old ivy-covered L.A. apartment building, is captivated and led ever deeper into a mysterious realm (like Alice down the rabbit hole) by a girl who, with her Veronica Lake blonde tresses, is ravishing enough to be a starlet. As he watches and pursues her through the walkways and corridors around and inside of the building, what at first looks like voyeuristic flirtation becomes a journey into the young man's own deepest fears and desires -- a gorgeous and terrifying pulling back of the veil of surface reality for a glimpse of both his true self and that too-close-for-comfort Freudian link between sex and death. Like all of this early work, the film is more or less silent-with-score (by Ernest Gold, whose music is fantastically cinematic and integral to setting the mood of many of these these moody pictures), and Harrington uses no effects any more special than the skilled, inspired manipulation of shadow and light and a very finely honed intuitiveness at the editing table to create a world as convincing and vivid as it is removed from realism -- one with a lush, eerie atmosphere fraught with allure, suspense, danger, and dread.

力图建立一个权威且具有公信力的信息追踪验证平台，从传言提及的新闻事实出发，用科学实验来验证每一则传言的真假，从中获取健康、实用的服务性知识。内容涉及国民政策，食品安全，健康养生以及民生服务等诸多领域。传言到底哪个是真哪个是假？最顶尖的实验室，最权威的专家，告诉你最可信的答案。

力图建立一个权威且具有公信力的信息追踪验证平台，从传言提及的新闻事实出发，用科学实验来验证每一则传言的真假，从中获取健康、实用的服务性知识。内容涉及国民政策，食品安全，健康养生以及民生服务等诸多领域。传言到底哪个是真哪个是假？最顶尖的实验室，最权威的专家，告诉你最可信的答案。

本节目是B站自主研发出品的首部科普求生纪录片。节目每集都将有一位B站科普UP主，在求生专家朱炜强的保驾护航下，在绝美却充满未知风险的自然环境中，完成他们梦寐以求的田野调查。无论成功与否，他们都将科普工作的价值与意义、趣味与困难真实地呈现给观众，希望唤起观众对科普、对科学真相、对自然的热爱。

本节目是B站自主研发出品的首部科普求生纪录片。节目每集都将有一位B站科普UP主，在求生专家朱炜强的保驾护航下，在绝美却充满未知风险的自然环境中，完成他们梦寐以求的田野调查。无论成功与否，他们都将科普工作的价值与意义、趣味与困难真实地呈现给观众，希望唤起观众对科普、对科学真相、对自然的热爱。

深夜，红色紧急电话，吵醒了已经熟睡的常海市委书记薛宝山，警方告知，发现了团结纺织厂厂长刘明的尸体。薛书记顿感事态严重，刘明的死将意味着几千人的纺织大厂随时可能瘫痪，更可怕的是，上亿元的资金不知去向，还拖欠了工人几十万的工资。关于团结纺织厂问题的会议在紧张的气氛中进行着，作为市委最高领导的薛宝山备感压力。现为常海市刑侦队队长的罗子丹曾为团结纺织厂团委书记，再次临危受命，重返团结纺织厂……

深夜，红色紧急电话吵醒了已经熟睡的常海市委书记薛宝山，警方告之，发现了团结纺织厂厂长刘明的尸体。薛书记顿感事太严重，刘明的死将意昧着几千人的纺织大厂随时可能瘫痪，更可怕的还有上亿元的资金不知去向，还拖欠了工人的工资等等……关于团纺织厂的问题的会议在紧张的气氛中进行着，做为市委最高领导的薛宝山备感压力。现为常海市刑侦队队长的罗子丹曾为团结纺织厂团委书记，再次临危受命，重返团结纺织厂。 ……

桥水基金创始人雷伊达里奥署名的一部动画片。动画片简明扼要的介绍了作者自己的成功方法论。

Six people bound together by a traumatic experience decide to round off a year of group therapy in style. They join each other once more, traveling up to the Scottish Lowlands for a reunion weekend in a 1970s holiday let. Soon a number of mysterious and horrifying events start to expose the cracks in their relationships, and one by one they discover that trust runs but skin-deep. A night of closure turns out to be far more final than they could have anticipated.

Co-directed by Godard with the Dziga Vertov group in 1969, 'Pravda's a direct attack to revisionism and socialist imperialism. With his usual collage of images taken from real life, the film's structured as a letter which a man writes to a woman called Rosa.