“I would like to propose a film that contributes to the concept of work. That compares the work of a traditional society, like in Africa, in an early industrial society such as India, and in a highly developed industrial society, in Europe or Japan. The object of comparison is to be the work in building houses. Houses to live in.” 　　This was written in Harun Farocki’s exposé from 2003 for a documentary project. “After initial research (...) I had the idea of using the brick, its manufacture and its processing as the object of comparison, explains Farocki. “We were looking for a great variety of uses for bricks – and we were looking for manufacturing processes that would possibly do away with bricks.” In India he filmed a brickworks whose threading machine was from the 1930s when Gandhi was organizing the anti-colonialist protest. The installation in northern France was operated by Moroccans who housed in barracks like POWs or forced labourers. In Mumbai apartment houses were built much like they are in Europe. No hand touched the products that came out of the highly mechanized factories in Germany. In Burkina Faso Farocki followed the communal work on a hospital ward and a school building with his camera: “I’ve never in my life been able to observed such a strange process so closely.” 　　The film does without commentary; there are only indications of the places and a few explanations offered in subtitles.

“I would like to propose a film that contributes to the concept of work. That compares the work of a traditional society, like in Africa, in an early industrial society such as India, and in a highly developed industrial society, in Europe or Japan. The object of comparison is to be the work in building houses. Houses to live in.” 　　This was written in Harun Farocki’s exposé from 2003 for a documentary project. “After initial research (...) I had the idea of using the brick, its manufacture and its processing as the object of comparison, explains Farocki. “We were looking for a great variety of uses for bricks – and we were looking for manufacturing processes that would possibly do away with bricks.” In India he filmed a brickworks whose threading machine was from the 1930s when Gandhi was organizing the anti-colonialist protest. The installation in northern France was operated by Moroccans who housed in barracks like POWs or forced labourers. In Mumbai apartment houses were built much like they are in Europe. No hand touched the products that came out of the highly mechanized factories in Germany. In Burkina Faso Farocki followed the communal work on a hospital ward and a school building with his camera: “I’ve never in my life been able to observed such a strange process so closely.” 　　The film does without commentary; there are only indications of the places and a few explanations offered in subtitles.

影像取材于大众传播媒介中关于老年人亲密关系的个例素材，结合自身对于奶奶这一形象的残像记忆，以片段式的影像结构和对错位细节的“截取”，试图展现老年群体生活中最琐碎最庸常的荒谬时刻。

玛格丽特·杜拉斯 谈论她的作品“写作”，纪录片，时长43分钟，彩色，video。

玛格丽特·杜拉斯 谈论她的作品“写作”，纪录片，时长43分钟，彩色，video。

一个偶然的午后，于亮平遇到了一个叫“扳手”的神秘女子，此后他们以及于亮平的妻子，余妮三个人的关系产生了微妙的变化

一个偶然的午后，于亮平遇到了一个叫“扳手”的神秘女子，此后他们以及于亮平的妻子，余妮三个人的关系产生了微妙的变化

1984 PISMAK / WRITE AND FIGHT (screenplay by Wladyslaw Terlecki based on his own novel) - Set in a prison during World War I, the film centers on a journalist who aspires to be a writer and is imprisoned with a safe-robber and a monk. His cellmates appear to him to be the perfect topic for a novel. Critic Jan Slodowki described the film as "a study in isolation told through the three voices of three people condemned to be with each other; among them, the writer, a maturing artist, his gaze fixed on himself, proves the central figure."

“Continued explorations of automatism as a practical guide to negotiating the mysterious zone where light and no-light flutter in a fecund equipoise. A homemade rocket to realms unknown to any movie camera or photo lens. In the end, perhaps nothing more than a search for an experience of continuity, a kind of sanity. Failing sanity, a wild ride at least.”