尤里是一位65岁的鳏夫。自从他的妻子17年前去世以来，他一直执着地在他人身上审视那些会让他想起妻子的细节。在他的雕塑工作室里，他一直努力着重塑她。他只缺一个关键的元素，那就是眼睛。后来他遇到了安德烈亚斯（24岁）：显然他有她的眼睛。尤里将被这次相遇颠覆，无论是在人际关系上还是在它所代表的意义上：这是他追寻的终点。 　　Yuri is a 65-year-old widower. Since the death of his wife, 17 years ago, he obsessively scrutinizes in the others details which would remind him of her. In his sculptor's workshop, he has been working hard to re-fabricate her. He misses only one key element, the eyes. When he meets Andreas (24 years), it is an evidence obvious : he has his eyes. Yuri will be turned upside down by this meeting, both humanly and for what it represents: the end of his quest.

尤里是一位65岁的鳏夫。自从他的妻子17年前去世以来，他一直执着地在他人身上审视那些会让他想起妻子的细节。在他的雕塑工作室里，他一直努力着重塑她。他只缺一个关键的元素，那就是眼睛。后来他遇到了安德烈亚斯（24岁）：显然他有她的眼睛。尤里将被这次相遇颠覆，无论是在人际关系上还是在它所代表的意义上：这是他追寻的终点。 　　Yuri is a 65-year-old widower. Since the death of his wife, 17 years ago, he obsessively scrutinizes in the others details which would remind him of her. In his sculptor's workshop, he has been working hard to re-fabricate her. He misses only one key element, the eyes. When he meets Andreas (24 years), it is an evidence obvious : he has his eyes. Yuri will be turned upside down by this meeting, both humanly and for what it represents: the end of his quest.

在两次采访过程中——一次在她位于伊夫林省的家中拍摄，另一次是在特鲁维尔的前黑石旅馆，玛格丽特·杜拉斯回顾了地方在她写作活动中，尤其是在她电影中的重要性。她描述了女人在这些地方的决定性在场，也就是那些从书里移动到电影中去的女人。第一次采访中，杜拉斯谈到了位于诺夫勒堡的房子，「这是她在世上居住得最久的地方」；她回顾了她作品中的女性角色以及她们自己与这所房子的关系；她谈到了花园、森林、还有女巫和音乐，以及戈雅和巴赫。第二次采访以相册的形式开始。她谈到了她出生和成长的印度支那，谈到了《堤坝》中的房子，以及她母亲命中的祸根。她谈到了她对安娜-玛丽·斯特雷特的迷恋，这是她小说《副领事》中的人物，在《印度之歌》中由德菲因·塞里格饰演。「几年来，我的电影和书已成了与她之间的情事。」

在两次采访过程中——一次在她位于伊夫林省的家中拍摄，另一次是在特鲁维尔的前黑石旅馆，玛格丽特·杜拉斯回顾了地方在她写作活动中，尤其是在她电影中的重要性。她描述了女人在这些地方的决定性在场，也就是那些从书里移动到电影中去的女人。第一次采访中，杜拉斯谈到了位于诺夫勒堡的房子，「这是她在世上居住得最久的地方」；她回顾了她作品中的女性角色以及她们自己与这所房子的关系；她谈到了花园、森林、还有女巫和音乐，以及戈雅和巴赫。第二次采访以相册的形式开始。她谈到了她出生和成长的印度支那，谈到了《堤坝》中的房子，以及她母亲命中的祸根。她谈到了她对安娜-玛丽·斯特雷特的迷恋，这是她小说《副领事》中的人物，在《印度之歌》中由德菲因·塞里格饰演。「几年来，我的电影和书已成了与她之间的情事。」

与玛格丽特·杜拉斯相伴两年后，扬·安德烈亚感到有必要和她倾诉：他与这位女作家之间的恋爱关系让他不再有任何自由，他需要用语言表达他的喜悦和痛苦。他请一位记者朋友对他进行采访，以便使她能更清楚地了解情况。他清晰而真诚地描述了他的故事的复杂性、他们的爱情以及他所受到的禁忌，那些千百年来女性所忍受的禁忌......

与玛格丽特·杜拉斯相伴两年后，扬·安德烈亚感到有必要和她倾诉：他与这位女作家之间的恋爱关系让他不再有任何自由，他需要用语言表达他的喜悦和痛苦。他请一位记者朋友对他进行采访，以便使她能更清楚地了解情况。他清晰而真诚地描述了他的故事的复杂性、他们的爱情以及他所受到的禁忌，那些千百年来女性所忍受的禁忌......

Re-reading of Marguerite Duras' novel "A dam against the Pacific", 70 years after its publication, while the French colonial past is still debated.

Re-reading of Marguerite Duras' novel "A dam against the Pacific", 70 years after its publication, while the French colonial past is still debated.

This documentary promoting the joys of life in a Soviet village centers around the activities of the Young Pioneers. These children are constantly busy, pasting propaganda posters on walls, distributing hand bills, exhorting all to "buy from the cooperative" as opposed to the Public Sector, promoting temperance, and helping poor widows. Experimental portions of the film, projected in reverse, feature the un-slaughtering of a bull and the un-baking of bread. 　　 　　 　　http://ubu.wfmu.org/video/Vertov-Dziga_Kino-Eye_1924.avi

This documentary promoting the joys of life in a Soviet village centers around the activities of the Young Pioneers. These children are constantly busy, pasting propaganda posters on walls, distributing hand bills, exhorting all to "buy from the cooperative" as opposed to the Public Sector, promoting temperance, and helping poor widows. Experimental portions of the film, projected in reverse, feature the un-slaughtering of a bull and the un-baking of bread. 　　 　　 　　http://ubu.wfmu.org/video/Vertov-Dziga_Kino-Eye_1924.avi