Included in Jonathan Rosenbaum’s list of 1000 essential films, Parviz Kimiavi’s The Mongols (1973) is a leftfield satire and sharp commentary on the expanding presence of cinema and television in Iran. The story follows a filmmaker, played by Kimiavi himself and also named Parviz, as he struggles with both his own film and a looming assignment to oversee the installation of a television relay station in the remote province of Zahedan. Imbued by his wife’s thesis work on the Mongol invasion of Iran, Parviz’s anxieties coalesce and materialize in the form of surreal visions in which the origins of cinema are acted out by the Turkomans he hired to play Mongols in his own film. Together with Parviz, we watch as the would-be gang of Mongols wander the desert in search of their director and the answers to their pressing questions about the nature of cinema, all while the forthcoming introduction of television consumes the local village and its inhabitants. Kimiavi fashions a fantastical cinematic space rife with bizarre metaphoric imagery and Godardian references to film-making in order to draw a sarcastic parallel between the Mongol invasion and the hyper-accelerated modernization of 1970s Iran. 　　A director of a television series on the history of cinema, who has been grappling with the screenplay of his first feature film, receives an assignment to oversee the installation of a television relay station in a remote region of Zahedan province, near the Afghanistan border. He has already hired Turkoman tribespeople for his film and selected his filming location. Meanwhile his wife, who is working on her Ph.D. dissertation about the Mongol invasion of Iran, attempts to dissuade him from accepting the assignment. One night, while working on his history of the cinema series, the director fantasizes a diagetic world that consists of clever juxtapositions of his different worlds: the history of cinema, the history of the mongol invasion, his own film idea and his imminent assignment to the desert.

一群把腳踏車掛上路燈的狂野少年，一位有強迫症的女人，三個拿著真槍真彈、在週末夜玩俄羅斯輪盤的酒友，加上總是在街角鬼吼高唱的唐氏症少年，組成了這部奇異而帶點哀傷的佳作。導演一鳴驚人的首部長片，精準而幾近「偽紀錄片」式的場面調度，透露了創作者對電影媒體比說故事更有野心的企圖：讓電影成為社會的實驗室。

一群把腳踏車掛上路燈的狂野少年，一位有強迫症的女人，三個拿著真槍真彈、在週末夜玩俄羅斯輪盤的酒友，加上總是在街角鬼吼高唱的唐氏症少年，組成了這部奇異而帶點哀傷的佳作。導演一鳴驚人的首部長片，精準而幾近「偽紀錄片」式的場面調度，透露了創作者對電影媒體比說故事更有野心的企圖：讓電影成為社會的實驗室。

1227年成吉思汗死后，他的三个儿子攻占Tuleda城，俘虏了比安卡公主。赫拉克勒斯为了拯救比安卡，比赛故意认输，自己甘愿成为奴隶。不久西方的援军快重新夺回图利达，赶走了成吉思汗的儿子们，解救了赫拉克勒斯。

電影深入東京一所小學，走入看似平凡的日常，揭露背後所隱藏的嚴苛教育體系。孩子們從小就被灌輸自律、集體和禮貌等觀念，這些價值觀雖然重要，但是否也為小孩們埋下更深層的社會壓力？ 　　成長於美國的日籍導演Ema Ryan Yamazaki 潛入校內拍攝，記錄了下至懵懂的一年級、上至成熟的六年級學生在一年內的成長軌跡，引發觀眾對教育與個人成長的深思。

安娜·卡露齐在圣诞晚宴，合家团聚时，偶尔听到丈夫和他的情妇打电话，才知丈夫早有外遇，愤而与他分手，带着儿子另觅新居。她参加了自己的家族制造、销售豪华游艇的公司，对父亲的管理方法提出了许多改进的建议，但没有被采纳。后来发现公司债台高筑，已濒临破产边缘，父亲又患心脏病，内外交困。在私生活方面，她结识了一位富有而吸引人的实业家赛吉欧，很快坠入情网。她想依靠赛吉欧的出谋划策来挽救自家的公司免于破产。 　　距离还债的日子一天天逼近了，安娜不得不向银行求助，但都碰了钉子。此时，她才发现正是男友赛吉欧在背后捣鬼，企图买下她的产业控制权，情急中安娜飞往德国，得到一项巨额信用贷款，保住了家族对产业的控制权。安娜家族产业越来越兴旺，但她的个人生活却接连遭到挫折，在一个个打击袭来时，是他弟弟的亲密朋友著名外科医生保罗向她伸出了友谊之手，两人经过磨难终于走到了一起

阿杰为了帮江叔入了监狱，在要出监狱前夕错手打伤犯人，狱警以出狱为条件要求他到江叔身边做卧底，否则将加刑期，为了与青梅竹马见面，阿杰答应了。在龙哥的带领下阿杰回到江叔身边，但是卧底身份不幸被江叔干儿子发现，早看龙哥不顺眼的干儿子决定除去龙哥与阿杰……

阿杰为了帮江叔入了监狱，在要出监狱前夕错手打伤犯人，狱警以出狱为条件要求他到江叔身边做卧底，否则将加刑期，为了与青梅竹马见面，阿杰答应了。在龙哥的带领下阿杰回到江叔身边，但是卧底身份不幸被江叔干儿子发现，早看龙哥不顺眼的干儿子决定除去龙哥与阿杰……

程杰（任达华 饰）同妹妹程舒（叶玉卿 饰）以及妹夫唐俊（尹扬明 饰）联手开办赌场，哪知道贪婪的唐俊不仅背叛了程杰的信任，还成为了他的竞争对手。郭凯琳（关之琳 饰）是含着金汤匙出生的千金小姐，她一直深深爱慕着程杰，希望程杰能够成为自己的丈夫，和父亲共同成就一番霸业。 　　唐俊贪图妻子程舒的家产，实际上对她早已经没有感情，私底下结识了名为李思思（叶童 饰）的女子，两人之间产生了一段不伦的恋情。声势逐渐壮大的程杰遭到了同行的暗算，性命危在旦夕，索性得到了郭凯琳的拼死相护。郭凯琳的这一举动让对她本没有感情的程杰大为感动。

'Daughters of the Niger Delta' is an intimate film portrait of three ordinary women in the Niger Delta who manage to make ends meet against all odds. As their personal stories unfold, we come to see that the widely ignored environmental pollution in their backyard is not the only human rights violation affecting their lives. The stories of these women, filmed with astounding craft and insight by young female filmmakers from their own communities, resonate with the experiences of many women around the world. It's time to listen to women's voices. Their views and priorities are relevant not only for the Niger Delta, but also for other parts of Nigeria that currently are marred by violence and social unrest.