Synopsis: 　　A group of cosmopolitan women passengers aboard the Trans-Siberian/Mongolian Railway are taken prisoner by Ulan Iga, a warrior princess. The rigors of the harsh desert landscape in summer test the prisoners' endurance, unlike Princess Ulan and her tribe, who are united with the physical environment by tradition and necessity. 　　Ottinger about her Film: 　　This is a film about different kinds of narration. In my films, there is never a singular plot. Nevertheless there is a story. The first part of the film is a trip through history on the Trans-Siberian Railroad, a grand old train on which people traveled from East to West and West to East for over a hundred years. I was fascinated by the story of this train. I found it a wonderful place to bring together people of all types. I focused here on four very different female characters who represent stories from different epochs. There is the elegant Lady Windermere who is an amateur ethnologist from late nineteenth century. She is what was called a "private scientist," a rich person devoted to a singular obsession of study, as in old English novels. Lady Windermere was inspired by the Victorian trends of this time and highly influenced by all the experiences in the colonies of the British Empire, to study the culture of Mongolian nomads. She is seen traveling in a salon wagon, her own sumptuous private train car. This signifies that she is from the time when the diplomatic corps, princes, and kings traveled on the Trans-Siberian Railroad as in a luxurious hotel. Then there is a beautiful young girl, Giovanni (later called Johanna), who is from our contemporary times today. She is an adventurer, traveling with a knapsack and a Walkman. At first she is in the third class carriage with soldiers and peasants who travel with their animals. Then she is invited to join Lady Windmere at her dinner table and in her private car. There is a German professor, Frau Muller-Vohwinkel, who travels with a Baedeker, the famous travel guide that she reads carefully, so that everything she sees has already been interpreted. And there is Fanny Ziegfield, a musical star from the nineteen thirties or forties of the great music halls. They are all on the train traveling in a linear path from West to East. Most of the travelers plan to go through Mongolia on the way to other destinations. Only Lady Windemere intends to remain in Mongolia, to continue her enthnographic studies. In addition to these characters, there is also a three woman entertainment troupe, the Kalinka Sisters. They are like a traveling Yiddish version of the Andrew Sisters. There is also a male character, Mickey Katz, who is a Yiddish tenor enroute to Harbin, China to meet up with its large Jewish community. While on the train he joins the other singers in presenting wonderful songs from music halls of the thirties and forties like those from New York's old Second Avenue. 　　The film is divided into three sections. In the first and last parts of the film, the action is on the train. These scenes were all shot in meticulously constructed sets made in the studio, even the glimpses of the passing outside landscape, as seen through the windows. I wanted the audience to truly see the artificiality of that construction. So, you catch a glimpse of a rip in the back wall of Lady Windemere's private car. But the rip is really a trompe l'oeil painting made by theatrical set painters. It signals this as an intentionally highly artificial presentation of the Western world. 　　In contrast, the central section of the film, when the train reaches Mongolia, was all shot on site, in the natural landscape. Here the train is stopped and the women travelers are kidnapped by a band of Mongolian tribeswomen, led by Princess Ulun Iga, who take them from the train to their seasonal encampment. Everything changes. In this nomadic landscape there is no linear path to follow. This goes also for the dramaturgy. The slow epic time of the Mongolians begins, with fairy tales, rhapsodic narration, and wonderful epopees--the old traditional songs in which they tell their whole history. It is an old dramaturgy as in Shakespeare--very simple, a skeleton that you fill with anything you wish. Like an epic, this is a space for the actualities, daily life, religious rituals, and so on of this largely female nomadic Mongol community. As relationships develop, we see various cultural confrontations between nomadic and settled cultures, between fiction and documentary, between the period costumes of the Europeans and the lavish traditional dress of the Princess and her retinue. 　　When I begin a new film, the inspiration, content, and style of the film comes from the place in which I start. Here it is Mongolia. I always like to change the point of view, to go around a theme looking at it from various perspectives and different points of view. This makes things more complex and a bit more difficult in a world where cinema is expected to be simply entertainment. Of course, I am not interested in this. Johanne d' Arc is an amusing film. But it is amusing on another level. It is a film about cultural misunderstandings, which can be quite funny. I have traveled a lot in other countries and learned a great deal about misunderstandings that I found highly interesting. It is important for me to talk about that. 　　The Critics: 　　"The whole film is a twin structure, cut through by doubles, repetitions, similarities and endless reflections. The images have a crease, established by the stories [...] In this way the Mongolian world casts a reflecting light on western customs and habits and cinema recommends itself as the instrument of investigation and the agent of old and new myths." -- Frieda Grafe, Suddeutsche Zeitung, April, 3rd,1989 　　"JOHANNA represents the fanciful attempt of a unique German filmmaker to explore the way extremely different cultures migrate and influence each other. The theme of the wanderer/outsider, carrier of diverse ideas, runs through all of Ulrike Ottinger's strikingly original films." -- Judy Stone, San Francisco Chronicle

Synopsis: 　　A group of cosmopolitan women passengers aboard the Trans-Siberian/Mongolian Railway are taken prisoner by Ulan Iga, a warrior princess. The rigors of the harsh desert landscape in summer test the prisoners' endurance, unlike Princess Ulan and her tribe, who are united with the physical environment by tradition and necessity. 　　Ottinger about her Film: 　　This is a film about different kinds of narration. In my films, there is never a singular plot. Nevertheless there is a story. The first part of the film is a trip through history on the Trans-Siberian Railroad, a grand old train on which people traveled from East to West and West to East for over a hundred years. I was fascinated by the story of this train. I found it a wonderful place to bring together people of all types. I focused here on four very different female characters who represent stories from different epochs. There is the elegant Lady Windermere who is an amateur ethnologist from late nineteenth century. She is what was called a "private scientist," a rich person devoted to a singular obsession of study, as in old English novels. Lady Windermere was inspired by the Victorian trends of this time and highly influenced by all the experiences in the colonies of the British Empire, to study the culture of Mongolian nomads. She is seen traveling in a salon wagon, her own sumptuous private train car. This signifies that she is from the time when the diplomatic corps, princes, and kings traveled on the Trans-Siberian Railroad as in a luxurious hotel. Then there is a beautiful young girl, Giovanni (later called Johanna), who is from our contemporary times today. She is an adventurer, traveling with a knapsack and a Walkman. At first she is in the third class carriage with soldiers and peasants who travel with their animals. Then she is invited to join Lady Windmere at her dinner table and in her private car. There is a German professor, Frau Muller-Vohwinkel, who travels with a Baedeker, the famous travel guide that she reads carefully, so that everything she sees has already been interpreted. And there is Fanny Ziegfield, a musical star from the nineteen thirties or forties of the great music halls. They are all on the train traveling in a linear path from West to East. Most of the travelers plan to go through Mongolia on the way to other destinations. Only Lady Windemere intends to remain in Mongolia, to continue her enthnographic studies. In addition to these characters, there is also a three woman entertainment troupe, the Kalinka Sisters. They are like a traveling Yiddish version of the Andrew Sisters. There is also a male character, Mickey Katz, who is a Yiddish tenor enroute to Harbin, China to meet up with its large Jewish community. While on the train he joins the other singers in presenting wonderful songs from music halls of the thirties and forties like those from New York's old Second Avenue. 　　The film is divided into three sections. In the first and last parts of the film, the action is on the train. These scenes were all shot in meticulously constructed sets made in the studio, even the glimpses of the passing outside landscape, as seen through the windows. I wanted the audience to truly see the artificiality of that construction. So, you catch a glimpse of a rip in the back wall of Lady Windemere's private car. But the rip is really a trompe l'oeil painting made by theatrical set painters. It signals this as an intentionally highly artificial presentation of the Western world. 　　In contrast, the central section of the film, when the train reaches Mongolia, was all shot on site, in the natural landscape. Here the train is stopped and the women travelers are kidnapped by a band of Mongolian tribeswomen, led by Princess Ulun Iga, who take them from the train to their seasonal encampment. Everything changes. In this nomadic landscape there is no linear path to follow. This goes also for the dramaturgy. The slow epic time of the Mongolians begins, with fairy tales, rhapsodic narration, and wonderful epopees--the old traditional songs in which they tell their whole history. It is an old dramaturgy as in Shakespeare--very simple, a skeleton that you fill with anything you wish. Like an epic, this is a space for the actualities, daily life, religious rituals, and so on of this largely female nomadic Mongol community. As relationships develop, we see various cultural confrontations between nomadic and settled cultures, between fiction and documentary, between the period costumes of the Europeans and the lavish traditional dress of the Princess and her retinue. 　　When I begin a new film, the inspiration, content, and style of the film comes from the place in which I start. Here it is Mongolia. I always like to change the point of view, to go around a theme looking at it from various perspectives and different points of view. This makes things more complex and a bit more difficult in a world where cinema is expected to be simply entertainment. Of course, I am not interested in this. Johanne d' Arc is an amusing film. But it is amusing on another level. It is a film about cultural misunderstandings, which can be quite funny. I have traveled a lot in other countries and learned a great deal about misunderstandings that I found highly interesting. It is important for me to talk about that. 　　The Critics: 　　"The whole film is a twin structure, cut through by doubles, repetitions, similarities and endless reflections. The images have a crease, established by the stories [...] In this way the Mongolian world casts a reflecting light on western customs and habits and cinema recommends itself as the instrument of investigation and the agent of old and new myths." -- Frieda Grafe, Suddeutsche Zeitung, April, 3rd,1989 　　"JOHANNA represents the fanciful attempt of a unique German filmmaker to explore the way extremely different cultures migrate and influence each other. The theme of the wanderer/outsider, carrier of diverse ideas, runs through all of Ulrike Ottinger's strikingly original films." -- Judy Stone, San Francisco Chronicle

A fearless warrior and ruthless conqueror, Genghis Khan’s epic rise and the Mongolian Empire’s incredible expansion are brought to thrilling life in this six-part series. Drawing on a new translation of “The Secret History of the Mongols,” the series reveals stunning insights into the life and many battles of the legendary ruler known widely as Genghis Khan.

1937年11月11日，上海沦陷。陈天放教导团受命担任第101集团军后卫团，掩护全军后撤。成为断线风筝的陈天放，凭借自己的日语优势和特战技能，率领秦枫等特战队员，在隐秘战线上，屡出奇招，制造混乱。干掉日军华中派遣大佐鬼冢次郎坊，炸毁安庆机场雷达站，协助张自忠将军在湖北潢川实施“狼牙行动”，打乱了板恒师团的部署，并被刘洪元司令批准成立“苍狼”特别行动队。本片是由潘泰名、章雯淇、吴承轩、毛俊杰、冯丽丽等青年演员主演，更有黑子、严晓频、侯传杲等老戏骨加盟。使“梦舟三部曲”有声有色、更加丰富多彩。

这部剧作为《雪豹》《黑狐》的姐妹篇，主要讲述了一群热血青年与日军展开英勇战斗的传奇故事。

艺达公司总裁彭普达非法吸收游资，被警方抓起来，而黑社会的头子黑鹰参与了此事并侵吞巨额款项。 这是一个根据真实故事改编的电影，在当时的社会有着非常深刻的意义，给浮躁的香港娱乐圈打了一支镇定剂。苗乔伟、万梓良当年虽显稚嫩，但也已看出了不凡演技。

艺达公司总裁彭普达非法吸收游资，被警方抓起来，而黑社会的头子黑鹰参与了此事并侵吞巨额款项。 这是一个根据真实故事改编的电影，在当时的社会有着非常深刻的意义，给浮躁的香港娱乐圈打了一支镇定剂。苗乔伟、万梓良当年虽显稚嫩，但也已看出了不凡演技。

一个连鸡都不敢杀的文弱书生，门前却跪满了求我上战场的将军，甚至就连皇帝都连下十九道诏书。只因三年前我刚出门就被抓去当壮丁，就当我头上的黑布被人掀开时，竟看见城墙之下10万契丹大军人山人海。我的眼神里充满了恐惧，双手止不住的颤抖。就在我不知道该干什么的时候，一旁老兵的声音传进我的耳中，兔崽子，有啥好怕，俩眼一睁一闭也就没了。

“骑马送快递吧！”因兄弟间闲聊时瞎扯出的话开始横穿蒙古的送货之旅！ 26年好友化学反应的属龙俱乐部5人帮X新面孔老幺姜勋，为了给广阔原野上的蒙古牧民转交快递物品，坐车骑马翻山越水，甚至修路，长达2000公里越野旅程！ 蒙古无边无际的草原和金色的沙漠，倾泻而下的银河，永恒的万年雪， 还有数千只动物！

一次兄弟间闲聊时随口说出的“骑马送快递吧！”，开启了一场横穿蒙古的送货之旅。属龙俱乐部的 5 人帮，他们是相识 26 年的好友，再加上新面孔老幺姜勋，一同踏上征程。为了给广袤原野上的蒙古牧民转交快递物品，他们坐车、骑马，翻山越水，甚至还修路，开启了长达 2000 公里的越野之旅。一路上，他们见识到了蒙古无边无际的草原、金色的沙漠、倾泻而下的银河、永恒的万年雪，还邂逅了数千只动物。