In his interview on Facet Video's DVD of Diary of a Suicide (Le journal d'un suicidé), Serbian director Stanislav Stanojevic mentions a French arts body that dispenses funds for creative filmmaking, and remarks that Luis Buñuel received more money than he did! This early 70s art film depends for its reputation on a quote by François Truffaut, who may have not seen the film, but had high praise for its screenplay. 　　Diary of a Suicide plays very much like a brief episode in a Buñuel film, but padded to feature length and communicating little beyond a vague nihilism. Busy actor Sami Frey is a handsome young man on a pleasure cruise on the east coast of Spain. He flirts with an attractive fellow passenger (Delphine Seyrig). Neither is given a name. No matter how much the man coaxes, the woman refuses to remove her sunglasses. They visit a church in Barcelona but mostly talk on board ship while watching seagulls. 　　The smiling woman encourages the young man to entertain her with a beautiful story. He responds with several morbid, interlinked anecdotes. A man (Bernard Haller) stands before a mirror, unable to make himself smile. Another man faces a firing squad. Anarchist lovers (Marie-France Pisier & Roland Bertin) fail to carry out an assassination. Wounded, she wants to die but is given a life sentence. Her jailer (Sacha Pitoëff) cannot sleep because he was brain-damaged in a war. That infirmity allows him to watch his prisoner around the clock. The jailer explains that his mind holds only one memory, of a beautiful woman he once knew. Should he forget her as well, the jailer reasons, his life will no longer have a purpose. 　　The female cruise passenger seems pleased by the young man's efforts to seduce her, but she has withheld a wicked surprise. 　　Unfortunately, Diary of a Suicide is a weak and uninvolving slice of mannered filmmaking. Scenes with the two main actors seem arbitrary and haphazard. Many of their encounters are staged against blank walls, and some dialogue scenes avoid showing lips, as in the cheapest of post-dubbed low-budget productions. Except for a few color inserts, all of the shipboard scenes are in B&W. Some of the young man's stories are tinted in various hues. The compositions are rarely framed wider than a medium shot, producing a feeling of claustrophobia. 　　With its nameless lovers and stories within stories, director Stanojevic's puzzle picture is more than a little reminiscent of Alan Resnais' Last Year at Marienbad, minus that film's elegance and compelling dreamlike surface. Little tension develops between the shipboard reality and the man's bizarre stories. A melancholy singer performing aboard the ship appears to represent the mystery woman of the jailer's tale. The singer's actor-husband dresses similarly to the jailer, and carries out the jailer's suicide as part of his act. With the exception of Sacha Pitoëff's morose jailer, none of the story characters connect with the audience. The gaunt, sad jailer truly looks like a man haunted by his loss of memory. 　　Stanislav Stanojevic's main coup for his first film is the gathering of an impressive cast. He's secured the services of Seyrig and Pitoëff, two of the stars of Last Year at Marienbad. Sami Frey and Marie-France Pisier have appeared in films by Agnès Varda, Georges Franju, William Klein, Jean-Luc Godard, H.G. Clouzot, François Truffaut, Alain Robbe-Grillet, Luis Buñuel and Jacques Rivette. 　　Director Stanojevic made two more features blending political themes with aspects of the fantastic. 1979's Subversion is about a country ruled by a paralyzed, blind president and his corrupt daughter. Diary of a Suicide has images of soldiers used as cannon fodder and anarchists dedicated to an assassination, but makes no real political statement. Its final twist is indeed a surprise, but an almost pointless one. 　　Facets Video's DVD of Diary of a Suicide is an acceptable flat transfer with English subtitles. For an extra we're given a lengthy video interview with the director. Stanojevic doesn't discuss Diary at length, preferring to give an unfocused talk about film funding and filmmaking in general.

地处山阴处的小型港口城市上终市，刚刚上了年纪的千代（高桥惠子 饰）独自经营着从过世母亲那里继承下来的面包店。小店人星寥落，平日里登门的也只有患有自闭症的送奶工奥田青年（深谷健人 饰）)和镇公所福利科的须藤（水上龙士 饰）。不知从何时起，小镇的访客逐渐多了起来，而他们的最终目的地只有一个：小店另一边那曾葬送了无数条性命的悬崖。这些一心求死之人，在死亡那一刻到来前总会从千代的店里买来面包和牛奶，似乎是在成全他们最后的晚餐。而千代即使明知他们会自杀也从不劝阻，只在最后从悬崖边捡回他们的鞋子送给别人。连番的自杀事件惊动了当地政府，为免城市形象受损，政府叮嘱市民要尽力劝阻企图自杀的人群。千代虽然点头应允，心中却深感疑惑，而这一切还要追溯到她那难忘的童年岁月……

在一个有过共产主义历史的欧式社会中，文化精英和被剥夺选举权的年轻人都看到黑暗力量席卷欧洲。然后，有些人会从不可避免的冲突和随之而来的混乱中受益，例如失意的法律系学生托梅克（马切伊·穆夏洛夫斯基饰），他竭力要引起童年时代的朋友佳比（凡妮莎·亚历山大饰）的注意，获得她的进步家庭的尊重。为了给佳比留下深刻印象，托梅克在一家名声在外但罔顾道德的公关公司工作。他奉命在社交媒体上进行策划，很快发现自己擅长这种肮脏的政治游戏。但他的所作所为是要付出人性代价的。随着托梅克越陷越深，他的人性慢慢丧失，亦不知要如何收拾残局。

萨拉·普莱斯（娜塔莉·多默饰）和杰丝·普莱斯（娜塔莉·多默饰）是一对双胞胎姐妹，从下和祖母一起长大的她们，总有一种超出普通双胞胎姐妹的莫名力量…

2000年11月12号，张秋连站在汉江桥边意欲轻生，他今年31岁，本地人氏，失业。这一幕被桥另一边的监控探头记录下来，他似乎还未准备好跳江，然而，他的自杀才刚刚开始……

2000年11月12号，张秋连站在汉江桥边意欲轻生，他今年31岁，本地人氏，失业。这一幕被桥另一边的监控探头记录下来，他似乎还未准备好跳江，然而，他的自杀才刚刚开始……

在这部电影中，本宁继续通过两个杀人犯的故事来审视美国文化。埃德·盖恩(Ed Gein)是威斯康星州的一名农民，他在20世纪50年代曾多次谋杀受害者。伯纳黛特·普罗蒂(Bernadette Protti)是一名加州青少年，1984年，她因朋友的侮辱行为捅死了朋友。

身为保险公司调查员的麦斯，因为找寻失踪的客户，而意外发现一间隐密在深山的旅馆，专门以服务享受各种自杀幻想的顾客群为主。 　　而当他化名混入旅馆进行调查之后，才发现这间旅馆的经营另有蹊跷，唯一能离开的方式，只有真正的死亡……

為深入調查威爾斯「Bridgend」小鎮的青少年連環自殺事件，一名警探與他的女兒Sara搬來這座被陰晦氣息籠罩的鄉鎮。個性單純又好奇的Sara決定親身走進當地年輕人的小團體，參與他們為自絕朋友舉辦的黑暗儀式，瞭解邪教凝聚的神秘因果。 　　起初她對於這個團體詭異的舉止規範感到害怕，卻在不知不覺間愛上其中的成員Jamie，也在此找到連結與共鳴。一股無法言喻的力量越過了界，原本互相依賴的父女關係開始變質，逐步吞噬女孩的心智。 　　改編自2007年起發生於威爾斯的真實事件，丹麥導演Jeppe Rønde花上近6年時間投入研究，將結果做為他的首部長片，以陰鬱、哥德風的氣氛營造，探究封閉小鎮的自殺疑雲。 　　本片剛在紐約翠貝卡影展獲得不錯評價，更一舉抱回最佳攝影、劇情類最佳剪輯，在《戀夏小情歌》表現清新的Hannah Murray挑戰黑暗題材，獲頒劇情類女主角獎。

黑白密室偵探片，十個角色，一女九男，其中一個是兇手。「過去我沒聽說過這戲，為了拍《8美千嬌》，我看了一遍，令我獲益良多，對那年代的美國電影瞭解得更清楚。」（奧桑）《Marie-Octobre》很寫實，是齣沉重的電影，拍得一板一眼。奧桑往相反方向走　－　輕鬆、非寫實、七彩、諷刺（人物互相指控而來）。 同類克里斯蒂式偵探片，奧桑較喜歡佳咸美頓（Guy Hamilton：《破鏡奇案》(The Mirror Crack'd)，《午日奇屍》(Evil under the Sun)，還有Sydney Lumet的《東方快車》。《8美千嬌》參照此片最多的是佈景設計，像客廳、書房、睡房、飯廳等。