Julien, a movie director, is on the phase of editing his new film, "Juliette sacrifiée". Hurried by his producer, he asks for the help of a professional editor. It is Anne, with whom Julien is soon falling in love. During the whole of the movie, both are sitting in front of the editing table, where they listen to music, talk about politics and what movies should and should not be about, make love, and finally end up editing the film as was planned.

Julien, a movie director, is on the phase of editing his new film, "Juliette sacrifiée". Hurried by his producer, he asks for the help of a professional editor. It is Anne, with whom Julien is soon falling in love. During the whole of the movie, both are sitting in front of the editing table, where they listen to music, talk about politics and what movies should and should not be about, make love, and finally end up editing the film as was planned.

In the follow-up of Estonian classics "Kevade" (1969) and "Suvi" (1976) the same characters have reached their middle-age. Everybody are living quiet family-life but Kiir the tailor who one more time decides to become a farmer and get married.

The season series of Silly Symphonies continues, with squirrels storing nuts and corn, crows stealing it, beavers building a dam, ducks migrating, and the like, as the first snows fall.

Julien, a movie director, is on the phase of editing his new film, "Juliette sacrifiée". Hurried by his producer, he asks for the help of a professional editor. It is Anne, with whom Julien is soon falling in love. During the whole of the movie, both are sitting in front of the editing table, where they listen to music, talk about politics and what movies should and should not be about, make love, and finally end up editing the film as was planned.

本片根据巴金的“激流三部曲”的第三部改编。封建大家庭高家，已经分崩离析，日趋没落。觉新（吴楚帆）和婢女翠环（红线女）互生爱慕，限于身份悬殊，不敢表白。翠环被觉新的五叔逼迫要做他的小妾，翠环要自杀以明心迹，觉新及时阻止。觉新经历种种曲折，看到高家各房人等为争财产互相勾斗角，公然反抗，向翠环表达爱情。最后，觉新与翠环、母亲和觉民（张活游）离家出走。

该片讲述了从封建家族后继人的堕落上以及从封建观念受毒最深的懦弱者的反抗上，描写了封建大家庭高家的最后衰败的故事

Shot in stunning black and white, with scenes that could be outtakes from some surreal haute-couture photo shoot, Phantom Love might just be the most beautiful film of the year. Looks aren't everything, however, and this is no hollow aesthetic exercise. As we follow alienated protagonist Lulu (Marina Shoif) on an impromptu trip into the darkest reaches of her own psyche - seemingly undertaken as a distraction while an unsatisfactory lover labours away on top of her - writer/director Nina Menkes creates a dreamscape of epic imaginative reach. There are shades of Alain Resnais and David Lynch here, but this film's lush mysteries are all its own - and the road that Lulu travels makes Mulholland Drive look like a layby. 　　(source: http://www.edfilmfest.org.uk/films/phantom-love/)

Shot in stunning black and white, with scenes that could be outtakes from some surreal haute-couture photo shoot, Phantom Love might just be the most beautiful film of the year. Looks aren't everything, however, and this is no hollow aesthetic exercise. As we follow alienated protagonist Lulu (Marina Shoif) on an impromptu trip into the darkest reaches of her own psyche - seemingly undertaken as a distraction while an unsatisfactory lover labours away on top of her - writer/director Nina Menkes creates a dreamscape of epic imaginative reach. There are shades of Alain Resnais and David Lynch here, but this film's lush mysteries are all its own - and the road that Lulu travels makes Mulholland Drive look like a layby. 　　(source: http://www.edfilmfest.org.uk/films/phantom-love/)