本剧改编自同名网络漫画书，讲述主人公天才心理学家Dr. Frost秘密加入搜查队，通过正式和非正式的调查，侦破罪案的故事，是一部健康的心理调查剧。

what motivated me up to the new director's festival to catch 'martin frost' tonight was the brutal review that it got yesterday from the lead critic of the new york times, brutal dismissal, to be more accurate, 'the less said about (it) the better', she said, and i figured that any movie able to teach Ms Dargis the virtue of silence for even a few column inches would be worth the trip. 　　and worth the trip it was. we are brought into a paradise of limpidly beautiful visual textures. the oaken rhythms of a country house ensconced in a springtime parkland of luxuriant trees and luminous skies bestow the soothing natural blessing needed by the main character, martin frost (David Thewlis), a writer rubbed raw by the mechanics of finishing a novel in new york city. (Thewlis makes palpable the casualty of intrapsychic machinery sawed into daemonic reverb against the banausic hive). then paradise morphs into purgatory, leavened comedically, in Dante's sense, by the postmodern angelic visitations of Claire (Irene Jacobs) and Anna (Sophie Auster). 　　unfortunately, to my taste, the verbal dimensions of the film are flaccid, the logic more fanciful than imaginative, the narrative arc crippled by some irredeemably creaky plotting, especially at the crucial initiation of the relationship between martin and Claire where the seeds of common sense are thrown to the magpies of theatricality. 　　but so beguiling is the willful vulnerability of auster's fantasy, and the edgy interplay that it potentiates between Thewlis and Jacobs, and the camera, and later Sophie Auster, and the broad comedy of a rural everyman (Michael Imperioli), that it is very pleasant to be carried along on the visual foam of uncertain sensual delight, eddying into a feeling that this film's oddly louche light touch is uniquely adept at tracing some grave lineaments of the human heart. 　　go innocently.

By the time Clarke made a biopic on Robert Frost for public television, he was a long-celebrated American institution. Though featuring him accepting the Congressional Gold Medal from President Kennedy at the White House, Clarke lingers on the 88-year-old poet busily ambling about his house and property in Vermont and intersperses this with relaxed talks to students at Sarah Lawrence and Amherst Colleges. Jokingly acknowledging his film crew at times, Frost appears comfortable and amused with his place in the sun. Relatively conventional with a verité cognizance, Clarke’s stroll “above ground” earned her the Academy Award for Best Feature Documentary in 1963.

本片主要的底本资源采自所罗门·伏尔科夫那本争议颇大的“肖斯塔科维奇口述自传”《见证》（www.douban.com/subject/1144865/），全片以作曲家独白形式展开，契合原书的“口述”特征。电影脚本编写相当出彩，导演帕尔默也参与了脚本写作，伏尔科夫担任顾问。影片将俄罗斯二十世纪的悲剧历史和作曲家的创作心路交织在一起，大量运用象征性的影像，音乐运用和剪辑流畅，加深了影像的冲击力。影片主线围绕作曲家和斯大林展开，较有争议的段落是作曲家与独裁者在临终时的对话场景，展现了所谓历史正义和个人良知的冲突。全片长达2小时40分钟。

影片改编自朱丽卡·帕维斯柯(Jurica Pavicic)的小说《雪花白绵羊》(Alabaster Sheep)，以20世纪90年代初克罗地亚与塞尔维亚之间战争为背景，讲的是从前线返回小镇休假的三名克族士兵计划炸掉小镇上一座塞族人的房子，结果由于材料不称手，他们只是击毙了屋主人，绑架了他的小女儿。 　　影片后来的情节发展较为出人意料。克族与塞族的战争越来越激烈，前线不断送回伤亡士兵。克族与塞族的仇恨日益高涨。然而小镇上的人，包括一名警局侦探和一名新闻记者，作出裁断说不能让这些杀了塞族居民的冷血杀手继续居留在小镇上，尽管被害的那名塞族人 名声并不好，传闻说他以走私起家。导演打破了对情节的单一直线式叙述方式，影片不断以不同人物的视角闪回主要事件，反映了不同人对同一事件的看法和立场。 　　影片中心自然是要反映人们面对道德伦理的二重选择时进退维谷，不过，布雷森导演拍摄的另一个意图是要引起世间关注克族人犯下的罪行。他说："在我们的社会里，战争中的罪行还没有得到人们的充分关注，甚至连罪行本身都没有严格的界定，无法以法律制裁，也没有办法去制止。因此，我感到很有必要讨论一下这些犯罪。如果人们认为影片结局过分光明乐观不切实际，因为那反映了我们的期望。"

The journey of Alain Prost, four-time Formula 1 world champion and winner of 51 races, undoubtedly the greatest and best French racing driver in the history of F1. 　　Le parcours d'Alain Prost, quadruple champion du monde de Formule 1 et lauréat de 51 courses, assurément le plus grand et le meilleur pilote automobile français de l'histoire de la F1.

影像记录黄河的历史变迁。

影像记录黄河的历史变迁。