约翰·特托罗饰演一名具有社会意识的编剧新秀，从百老汇崛起，被好莱坞延揽写一部关于摔跤的B级片剧本。他住在破败的旅馆房间中搜肚刮肠，却硬是挤不出片言只语。隔壁房间却发生了种种怪事，使他有如置身于人间炼狱，脑海中发生种种荒诞可笑的幻象。

巴顿（约翰•特托罗 John Turturro 饰）是纽约的一名优秀的编剧，他的剧本刚刚在百老汇得到认可，好事便接踵而来。好莱坞的一间电影公司邀请他到当地创作一部关于摔角的B级片剧本，于是，巴顿便来到了好莱坞。巴顿租住在一间破败的旅馆中开始了他的创作，无奈灵感却迟迟未光临，他陷入了巨大的苦闷当中。更不幸的是，此刻，巴顿隔壁的房间里发生了种种怪事，使他犹如置身于人间炼狱，脑海中不时浮现出种种荒诞可笑的幻象……

The life and times of famed hot rod & custom car designer Ed "Big Daddy" Roth.

The subject of Danièle Huillet and Jean-Marie Straub’s Der Tod des Empedokles (The Death of Empedocles, 1987) is the Greek pre-Socratic philosopher Empedocles (c. 490 BC – 430 BC), who lived in the Greek colony of Agrigentum in Sicily. His theories are mentioned in several of Plato’s dialogues. He maintained that all matter is made up of four irreducible elements: water, earth, air and fire. A mystic and a poet, he is considered to be the founder of classical rhetoric. He is also thought to be the last Greek philosopher to write in verse; two fragments of his works survive: Katharmoi (Purifications) and Peri Phuseôs (On Nature). An advocate of democracy, he came into conflict with his fellow citizens of Agrigentum and, as result, was banished with his young disciple, Pausanius. When he was asked to return, he preferred to commit suicide by throwing himself into the active volcano at Mount Aetna. 　　The German writer Friedrich Hölderlin wrote two versions of Der Tod des Empedokles in 1798 and 1800, and a final third version in 1820, all three ultimately unfinished. They were conceived as five-act tragedies and all three differ in plot. According to Michael Hamburger, Hölderlin’s English-language translator, 　　the main reason why Hölderlin finished no version of the play must be that he remained too closely identified with Empedocles, at the very period in his life when his own view of the poet as philosopher, prophet and priest – and as tragic hero – was subject to perpetual crisis and re-examination. 　　Huillet-Straub’s The Death of Empedocles is based on Hölderlin’s first version (the longest of the three), whereas Black Sin is based on the third version.

The subject of Danièle Huillet and Jean-Marie Straub’s Der Tod des Empedokles (The Death of Empedocles, 1987) is the Greek pre-Socratic philosopher Empedocles (c. 490 BC – 430 BC), who lived in the Greek colony of Agrigentum in Sicily. His theories are mentioned in several of Plato’s dialogues. He maintained that all matter is made up of four irreducible elements: water, earth, air and fire. A mystic and a poet, he is considered to be the founder of classical rhetoric. He is also thought to be the last Greek philosopher to write in verse; two fragments of his works survive: Katharmoi (Purifications) and Peri Phuseôs (On Nature). An advocate of democracy, he came into conflict with his fellow citizens of Agrigentum and, as result, was banished with his young disciple, Pausanius. When he was asked to return, he preferred to commit suicide by throwing himself into the active volcano at Mount Aetna. 　　The German writer Friedrich Hölderlin wrote two versions of Der Tod des Empedokles in 1798 and 1800, and a final third version in 1820, all three ultimately unfinished. They were conceived as five-act tragedies and all three differ in plot. According to Michael Hamburger, Hölderlin’s English-language translator, 　　the main reason why Hölderlin finished no version of the play must be that he remained too closely identified with Empedocles, at the very period in his life when his own view of the poet as philosopher, prophet and priest – and as tragic hero – was subject to perpetual crisis and re-examination. 　　Huillet-Straub’s The Death of Empedocles is based on Hölderlin’s first version (the longest of the three), whereas Black Sin is based on the third version.

一天清晨，14 岁的明克-莫尔曼（Minke Moorman）被绑架。三年后，她突然再次出现，完全是个野人，背上有一个神秘的翅膀纹身。她回来后，整个家庭都面临着压力。明克的创伤经历已经改变了她，而且，在无人知晓的情况下，她仍然被绑架者从暗处玩弄于股掌之间。

一名天文学家和一个密码解译者发现了一些古代的隧道，不料无意中释放了致命的狮身人面怪物斯芬克斯。要阻止即将到来的灾难，他们必须去解开那些与之有关的复杂且可能致命的谜题。

一名天文学家和一个密码解译者发现了一些古代的隧道，不料无意中释放了致命的狮身人面怪物斯芬克斯。要阻止即将到来的灾难，他们必须去解开那些与之有关的复杂且可能致命的谜题。

本片是一部具學術性且形式前衛的影片，討論女性主義、母性與性別差異。影片主要分為三大部分、十三個章節，意圖建構觀者與影片中女性主體的關聯性，從女性的觀點與聲音來呈現影像中的女性。