音乐纪录片名导Christopher Nupen在1984年拍摄的作曲家舒柏特晚景纪录片，从舒柏特临死前近二十个月，为贝多芬的葬礼执火炬起，讲述他的最后时光。全片并不执着于传记生活的细节，而是试图表达出晚年舒柏特音乐创造力的精神所在。该片于当年获得捷克布拉格纪录片水晶奖。

舞台和电影导演David Alden的一次大胆实验，将舒伯特的声乐套曲《冬之旅》演绎为一部独角戏剧，在一个幽闭空间内，孤独的诗人回味着早已死去的爱情和没有意义的人生，四周鬼影重重，他逐渐走向精神崩溃。当年，刚走红乐坛的英国男高音Ian Bostridge在这部奇特的音乐纪录片中边唱边演。DVD中还带有幕后花絮，David Alden和Ian Bostridge，以及钢琴家Julius Drake现场排练的完整场景。

Alfred Brendel, one of the greatest of all pianists, plays and reflects on Franz Schubert’s last three piano sonatas. As he points out, Schubert can’t have known that he was soon to die, so they probably do not embody the air of resignation and finality future generations have sentimentally insisted they bear. They were however long neglected, all but forgotten, and only in more recent times have they come to be treasured and performed. The repose and wisdom of the maestro, together with the patient observation of one who is no stranger to the idea of the irrevocably lost, of the erasures of history, and of the value of fragile objects passed carefully from generation to generation, is a joy.

『乃木坂46 橋本奈々未の恋する文学』是橋本奈々未的个人冠名番组，由UHB（北海道文化放送）制作并在北海道当地放送，节目内容是介绍以北海道为舞台的小说。北海道旭川市出身、兴趣是读书的乃木坂46成员橋本奈々未，将带上一册书展开旅程，探访作为小说舞台的北海道各处，去发现她不知道的美景，与在那里生活的人相遇。节目通过她朗读小说中的不同段落，阿南亮子的原创音乐，以及美丽的影像来表现作品的世界观。节目结尾还附有乃木坂46成员介绍自己喜欢的一本书的小环节「乃木坂46Books」。这是一个传达阅读和北海道的魅力，充满地方色彩的知性的娱乐节目。 　　*「乃木坂46 橋本奈々未の恋する文学-冬の旅-」在2016年2月18日（深夜24点25分）开始播出，连续五周播放，全五回。介绍村上春树的《挪威的森林》和《寻羊冒险记》，樱木紫乃的《Loveless》，以及渡边淳一的《魂断阿寒》四本小说。

『乃木坂46 橋本奈々未の恋する文学』是橋本奈々未的个人冠名番组，由UHB（北海道文化放送）制作并在北海道当地放送，节目内容是介绍以北海道为舞台的小说。北海道旭川市出身、兴趣是读书的乃木坂46成员橋本奈々未，将带上一册书展开旅程，探访作为小说舞台的北海道各处，去发现她不知道的美景，与在那里生活的人相遇。节目通过她朗读小说中的不同段落，阿南亮子的原创音乐，以及美丽的影像来表现作品的世界观。节目结尾还附有乃木坂46成员介绍自己喜欢的一本书的小环节「乃木坂46Books」。这是一个传达阅读和北海道的魅力，充满地方色彩的知性的娱乐节目。 　　*「乃木坂46 橋本奈々未の恋する文学-冬の旅-」在2016年2月18日（深夜24点25分）开始播出，连续五周播放，全五回。介绍村上春树的《挪威的森林》和《寻羊冒险记》，樱木紫乃的《Loveless》，以及渡边淳一的《魂断阿寒》四本小说。

1996, full version – 26 min. (short – 12 min.), colour, BETACAM SP Hermitage Bridge Studio 　　scenario: A. Sokurov 　　camera: A. Fedorov 　　sound: V. Persov 　　editor: L. Semenova 　　producer: A. Deryabin 　　“…the ruins of villas or palaces, castles, bridges, ancient vaults appear one by one before my eyes, like dreams; ghostly landscapes with grey trees… 　　I enter the Hermitage's halls, and nothing prevents me from approaching any picture, and the very vaults of this famous palace help me to see the canvasses better — small and big ones, almost gigantic ones, painted by this happy master.” 　　Alexander Sokurov (from the film script) 　　This is the first film of, and as of yet the only film in, a series planned by Hermitage Bridge Studios dedicated to the most important masters of European painting, whose works are included in the collection of the Hermitage Museum, the most famous of Russian museums. It in envisaged that the films will be made by the most prestigious of St. Petersburg's film directors. Only Sokurov has already made his film. 　　From the enormous list of celebrated names, Sokurov has chosen one — and a very modest one indeed: Hubert Robert, a French painter who worked between the end of the eighteenth century and the beginning of the nineteenth. He painted ruins in landscapes. 　　The formal pretext — the museum's request, intended to popularise its treasures — coincided with the film–maker's deepest need: to create a “cultural context” for his own lyrical confession. Hence, Sokurov makes the film both about the canvasses and about the fate of an artist possessed by the idea of the search for harmony. In this respect, Hubert Robert was a man of his time, a time which found its classical ideals in the ways of life of an ancient city, an ancient personality and an ancient ruler. But the contented life of the artist, like his Age, finished with the collapse of the Napoleonic empire — it ended in disaster for his family and for himself. But he lives on in the majestic ruins in the nostalgic landscapes. These were particularly popular in nineteenth century Russia. Their vogue reflects the astonishment and delight of Russians in the face of a Western civilisation that had already followed the path from formation and development to death and destruction. Russia herself was in that very period of formation in the nineteenth century — the apocalyptic impulses were already present in the culture and social life of the Golden Age of Russia. For this reason, Sokurov places Dostoevsky and Gogol's reminiscences in his narrative, as well as images of traditional Japanese theatre — a firm bulwark to this harmonic cultural tradition, since lost by Europe.

探索真爱的过程难免悲伤痛苦。生命中值得去冒险的美好事物,前提就是必须去冒险，有一天你会发现自己流着泪在笑。世界上最遥远的距离不是远到让我没法告诉你我想你，是远到让我们明明相爱却不能在一起……

Cubert’s life is determined by work. Endless repetitions of the same tasks, dull routines, a perfect construction of monotony. Suddenly he is wrenched out of his daily grind and is confronted with a seemingly inescapable system. His quest for an exit leads him deep into a labyrinth of monotony – and to the bounds of his sanity.

Norbert an incompetent spy from a sad, bureaucratic and grey nation will become a key player to thwart the plans of his own government, in an exciting quest that will see him travel alongside strange companions.

Norbert an incompetent spy from a sad, bureaucratic and grey nation will become a key player to thwart the plans of his own government, in an exciting quest that will see him travel alongside strange companions.