《谁杀死了阿历克斯队长》是一部来自乌干达贫民窟的动作喜剧电影。 影片中的老虎黑手党用铁腕统治着乌干达，在各种混乱爆发期间，突击队队长阿历克斯被神秘谋杀。作为首部乌干达动作电影，本片以不到200美元的预算，在视频网络一经上线便创造了将近350万的点击量。低廉的预算让影片拥有了一种奇特的观感，导演用有限的资源创造了一个专属于乌干达的独创风格，让人在捧腹大笑中深思电影制作的奥义。

《谁杀死了阿历克斯队长》是一部来自乌干达贫民窟的动作喜剧电影。 影片中的老虎黑手党用铁腕统治着乌干达，在各种混乱爆发期间，突击队队长阿历克斯被神秘谋杀。作为首部乌干达动作电影，本片以不到200美元的预算，在视频网络一经上线便创造了将近350万的点击量。低廉的预算让影片拥有了一种奇特的观感，导演用有限的资源创造了一个专属于乌干达的独创风格，让人在捧腹大笑中深思电影制作的奥义。

在小神龙俱乐部中，插在两个动画之间或在快结束的时候播出的动画短片，时间大约不到5分钟。每集一个故事。讲的是一只温情可爱的小老鼠的故事。

在小神龙俱乐部中，插在两个动画之间或在快结束的时候播出的动画短片，时间大约不到5分钟。每集一个故事。讲的是一只温情可爱的小老鼠的故事。

Ostensibly an informal guided commentary through personal photographs taken by Alix Cléo Roubaud for a young interviewer (Boris Eustache), Jean Eustache's Les Photos d'Alix ingeniously explores the nature of reality and perspective within the framework of documentary filmmaking. This sense of trompe l'oeil is prefigured in an early double exposed photograph of Alix's husband, novelist Jacques Roubaud taken from a London hotel room, explaining that the duality had been intentionally developed in order to simulate an elongated profile that more appropriately conforms to the traditional notion of a Hollywood style bed, a manipulation of image that is also illustrated in a subsequent photograph of an induced sunset created by selective masking. Eustache's approach to the film similarly expounds on Alix's photographic experimentation, juxtaposing the curious image of a smiling, shirtless man seemingly disembodied below the rib cage against Alix's comical, if askew anecdote on plying a friend with alcoholic beverages in order to look more relaxed as she takes his picture on a couch. In another humorous episode, Alix conveys the fond memories her father through what she describes as the most iconic image of him from her childhood, revealing a shot of a driver's ear and receded hairline taken from the back of a car, his face partially visible only through the reflection of the rearview mirror. Soon, the conversation grows even more puzzling, as the young man apparently fails to recognize himself in a photograph, Alix incongruously points out the admirable physicality of an unknown man who was accidentally captured on film, as a naked, overweight man stands on the side of the frame, and her revelry on the coincidence of having two former romantic interests converging in the same shot is seemingly reduced to the banal image of a pair of worn boots. As Alix's insights into her sources of inspiration and creative process become increasingly dissociated from the images, Eustache illustrates the point of rupture between the visual and aural, where filmed storytelling lies, not in the symmetry of information, but in its chance intersections and disjunctions. 　　---- from strictly film school

Ostensibly an informal guided commentary through personal photographs taken by Alix Cléo Roubaud for a young interviewer (Boris Eustache), Jean Eustache's Les Photos d'Alix ingeniously explores the nature of reality and perspective within the framework of documentary filmmaking. This sense of trompe l'oeil is prefigured in an early double exposed photograph of Alix's husband, novelist Jacques Roubaud taken from a London hotel room, explaining that the duality had been intentionally developed in order to simulate an elongated profile that more appropriately conforms to the traditional notion of a Hollywood style bed, a manipulation of image that is also illustrated in a subsequent photograph of an induced sunset created by selective masking. Eustache's approach to the film similarly expounds on Alix's photographic experimentation, juxtaposing the curious image of a smiling, shirtless man seemingly disembodied below the rib cage against Alix's comical, if askew anecdote on plying a friend with alcoholic beverages in order to look more relaxed as she takes his picture on a couch. In another humorous episode, Alix conveys the fond memories her father through what she describes as the most iconic image of him from her childhood, revealing a shot of a driver's ear and receded hairline taken from the back of a car, his face partially visible only through the reflection of the rearview mirror. Soon, the conversation grows even more puzzling, as the young man apparently fails to recognize himself in a photograph, Alix incongruously points out the admirable physicality of an unknown man who was accidentally captured on film, as a naked, overweight man stands on the side of the frame, and her revelry on the coincidence of having two former romantic interests converging in the same shot is seemingly reduced to the banal image of a pair of worn boots. As Alix's insights into her sources of inspiration and creative process become increasingly dissociated from the images, Eustache illustrates the point of rupture between the visual and aural, where filmed storytelling lies, not in the symmetry of information, but in its chance intersections and disjunctions. 　　---- from strictly film school

美丽的护理学生Isabelle正准备开始在一所有名的医院里实习。在那里，她遇见了医生Philip，并一见钟情。然而Isabelle总是莫名其妙地昏厥，所以Phillip昵称Isabelle为班比(迪士尼卡通形象，腿细而不能支撑身体)。 　　 　　不久Isabelle发现，病人总是神秘地从护理室消失，于是她开始与Phillip一起寻找潜匿的凶手…

美丽的护理学生Isabelle正准备开始在一所有名的医院里实习。在那里，她遇见了医生Philip，并一见钟情。然而Isabelle总是莫名其妙地昏厥，所以Phillip昵称Isabelle为班比(迪士尼卡通形象，腿细而不能支撑身体)。 　　 　　不久Isabelle发现，病人总是神秘地从护理室消失，于是她开始与Phillip一起寻找潜匿的凶手…

1978年10月，性手枪乐团贝斯手席德的女友南西被人发现陈尸于却尔西旅店100号房的浴室，纽约警察未详加调查，将同处一室却早已嗑挂的席德冠上谋杀罪名；席德在隔年二月猝死，南西之死的真相也成为千古悬案。导演访问了近两百名相关人士，试图抽丝剥茧还原出真相。究竟是爱你爱到杀死你，或者席德只是代罪羔羊，凶手另有其人？看完电影，由你决定。

1978年10月，性手枪乐团贝斯手席德的女友南西被人发现陈尸于却尔西旅店100号房的浴室，纽约警察未详加调查，将同处一室却早已嗑挂的席德冠上谋杀罪名；席德在隔年二月猝死，南西之死的真相也成为千古悬案。导演访问了近两百名相关人士，试图抽丝剥茧还原出真相。究竟是爱你爱到杀死你，或者席德只是代罪羔羊，凶手另有其人？看完电影，由你决定。