"Four days spent in a studio working on a centerfold photo for Playboy magazine provided the subject matter for my film. The magazine itself deals with culture, cars, a certain lifestyle. Maybe all those trappings are only there to cover up the naked woman. Maybe it's like with a paper-doll. The naked woman in the middle is a sun around which a system revolves: of culture, of business, of living! (It's impossible to either look or film into the sun.) One can well imagine that the people creating such a picture, the gravity of which is supposed to hold all that, perform their task with as much care, seriousness, and responsibility as if they were splitting uranium. 　　This film, An Image, is part of a series I've been working on since 1979. The television station that commissioned it assumes in these cases that I'm making a film that is critical of its subject matter, and the owner or manager of the thing that's being filmed assumes that my film is an advertisement for them. I try to do neither. Nor do I want to do something in between, but beyond both." 　　--Harun Farocki, Zelluloid, no. 27, Fall 1988

很久以前，住在山麓中的壮（僮）族妈妈妲布和三个儿子靠织锦、砍柴为 生。一天，妲布从集市上买回一幅美丽的田园画，决心照样织成僮锦。她夜以继日，整整化了三年时间，方才织成。正当一家围着僮锦观赏时，忽然一阵狂风卷来，僮锦随风飘去，不见踪影。妲布焦急万分，嘱咐老大、 老二速去找回僮锦。他俩来到大山隘口，见有个老奶奶坐在石屋门前，急忙前去询问僮锦下落。老奶奶告诉他们僮锦藏在太阳山的仙宫里，沿途艰险。

很久以前，住在山麓中的壮（僮）族妈妈妲布和三个儿子靠织锦、砍柴为 生。一天，妲布从集市上买回一幅美丽的田园画，决心照样织成僮锦。她夜以继日，整整化了三年时间，方才织成。正当一家围着僮锦观赏时，忽然一阵狂风卷来，僮锦随风飘去，不见踪影。妲布焦急万分，嘱咐老大、 老二速去找回僮锦。他俩来到大山隘口，见有个老奶奶坐在石屋门前，急忙前去询问僮锦下落。老奶奶告诉他们僮锦藏在太阳山的仙宫里，沿途艰险。

很久以前，住在山麓中的壮（僮）族妈妈妲布和三个儿子靠织锦、砍柴为生。一天，妲布从集市上买回一幅美丽的田园画，决心照样织成僮锦。她夜以继日，整整化了三年时间，方才织成。正当一家围着僮锦观赏时，忽然一阵狂风卷来，僮锦随风飘去，不见踪影。妲布焦急万分，嘱咐老大、老二速去找回僮锦。他俩来到大山隘口，见有个老奶奶坐在石屋门前，急忙前去询问僮锦下落。

很久以前，住在山麓中的壮（僮）族妈妈妲布和三个儿子靠织锦、砍柴为生。一天，妲布从集市上买回一幅美丽的田园画，决心照样织成僮锦。她夜以继日，整整化了三年时间，方才织成。正当一家围着僮锦观赏时，忽然一阵狂风卷来，僮锦随风飘去，不见踪影。妲布焦急万分，嘱咐老大、老二速去找回僮锦。他俩来到大山隘口，见有个老奶奶坐在石屋门前，急忙前去询问僮锦下落。

The medieval church cannot be understood without recognising that death was at its heart. Richard Taylor shows how churches were design ed to give medieval people a way to escape death, with their Judgement scenes, cadaver tombs and graphic depictions of the crucifixion. 　　He explains why scenes of suffering on the cross became so prominent and why the instruments used in the persecution of Jesus were depicted in the decoration of windows, floors and walls at such remarkable sites as Malvern Priory in Worcestershire. 　　Taylor explains the medieval obsession with purgatory and how this again transformed our churches with the building of elaborate chantry chapels, where Masses could be said to ease the journey of departed souls into heaven. 　　Information 　　Author Richard Taylor examines how the imagery, symbols and architecture of English parish churches have inspired, moved and enraged people down the centuries. 　　Part 1: Dark Beginnings 　　Presenter Richard Taylor explains how churches were originally simple buildings intended to protect the altar and the most important Christian rite of all, the Eucharist. He visits Britain's finest early medieval churches to untangle the mystery of why the Anglo-Saxons and Normans seem to have been unwilling to shake off their pre-Christian past and to have continued to fill their sacred buildings with mysterious pagan images. An ancient book in an Oxford library helps Richard find an answer. 　　Part 2: Medieval Life 　　Richard Taylor uncovers evidence that shows how and why our parish churches came to play such a crucial role in the everyday life of the Middle Ages. He looks at how humorous wall paintings and intricate carvings were used to teach moral lessons and how carved angels in such churches as Blythburgh were used to create a heaven on earth. He finds out how rites such as baptism and the largely forgotten ritual known as the 'churching of women' offered people protection from the cradle to the grave. 　　Part 3: Medieval Death 　　Richard Taylor shows how churches were designed to give medieval people a way to escape death, with their Judgement scenes, cadaver tombs and graphic depictions of the crucifixion. He explains why scenes of suffering on the cross became so prominent and why the instruments used in the persecution of Jesus were depicted on the windows, floors and walls of sites like Malvern Priory. Taylor explains how the medieval obsession with purgatory transformed churches with the building of chantry chapels. 　　Part 4: Reformation - Chaos and Creation 　　With the help of art historian Sister Wendy Beckett and a stained-glass window, Richard Taylor tries to understand the intense medieval devotion to the Virgin Mary and how this fuelled the anger of the Reformation that followed. Richard 'reads' a ruined church and explains how it was not Henry VIII but his boy-king successor, Edward VI, who was responsible for the greatest changes in the Reformation. He also traces how the Book of Common Prayer and the translation of the Bible into English transformed the way that the English worshipped and the appearance of their churches. 　　Part 5: Restoration and Reason 　　Church life in the 18th century is often thought to have been genteel and dull, but Richard Taylor finds that churches in this Age of Enlightenment reflect the intellectual excitement, the vigour and the potential for conflict of a turbulent time. He shows how the symbols in the everyday parish church reveal the ever-closer identification between church and state and he tries out the triple-decker pulpit at St Mary's in Whitby, and he discovers how the London churches of Christopher Wren and Nicholas Hawksmoor reflect the latest scientific insights and archaeological discoveries of the age. 　　Part 6: The Victorians and after 　　Richard Taylor discovers how, during the industrial revolution, medieval imagery and ritual make a surprise return to Victorian places of worship and plunge the Anglican Church into conflict. Richard retraces the controversy surrounding this Oxford Movement of Anglo-Catholics and explores their finest churches. He sees how the impact of war in the 20th century is reflected on imagery in our churches and how the First World War brought a return to another medieval practice - the commemoration of the dead.

来自柏林的年轻诺拉在服用一种新的派对药物后从昏迷中醒来，并且不再记得任何事情。当调查员尼克·纳瓦尔和大卫·莱昂哈特发现许多青少年因派对毒品“极乐”的传播而失踪时，诺拉开始调查。她揭开了一个离奇的阴谋：外星人利用这种药物，以受害者的尸体为宿主。

Azucena is 22 years old and lives with her mother, who, due to a past trauma, can no longer speak. Azucena works in a photography lab with her best friend Paqui, and has just broken up with her latest boyfriend Dani. Azucena lives in fear of sex and physical contact, hiding in her own sheltered world. Cesar, a plastic artist feels an obsessive attraction for Azucena, as a result, making her his inspiration. This obsession is painfully observed by Jacinto, the unstable artist's lover, who is himself involved in a violent and destructive relationship with Cesar. Cesar, blinded by passion for Azucena, tries to force himself on her one day while she is modeling for him. Azucena, feeling violated, flees the studio, leaving Cesar desolate. sees a vision, someone wishes to help her find her way and, in the process some answers. She finds herself going to a nightclub where she meets Narciso, a stripper at the club. The attraction between them is immediate, and for the first time, Azucena bares her body for a man and they make love. But Narciso harbors many secrets in his life, which will soon come to light. He has a sick, even monstrous relationship with his unbalanced parents, who will do all they can to destroy the love between their son and Azucena. She too, hides a dark secret in her past which has shaped her life. Sharing their secrets with each other reinforces the love between Azucena and Narciso, leading them towards a decision which could change their existences, allowing then to live their lives to the fullest. But Cesar, alone and blinded by the pain of being abandoned by Azucena, takes his life, despite efforts by Jacinto to save him. This even will bring unexpected results.

拉菲在疯狂的孟买当街头摄影师，在孟买地标上为游客拍临时肖像。当他生病的祖母——他一直希望拉菲能组建一个家庭——来探望她时，他争先恐后地安抚她。…