Boasting the longest title in the Quays' entire output, this 1985 film is generally known as This Unnameable Little Broom, though the Quays themselves refer to it as Gilgamesh. It began life as a proposed hour-long Channel Four programme exploring aspects of the ancient Babylonian Epic of Gilgamesh, the oldest known surviving work of literature, which would combine puppet animation, dance sequences (courtesy of choreographer Kim Brandstrup) and live-action documentary elements. However, Channel Four were dubious about the project, and only agreed to fund a short animated sequence as a pilot - which is all that was ultimately made. But even when divorced from the original planned context, This Unnameable Little Broom stands up very well on its own as a short parable of cruelty and oppression. The Gilgamesh character is portrayed as a childlike figure, seemingly welded permanently to a tricycle, with a grotesquely swollen head that, Picasso-like, simultaneously presents both a profile and a frontal view. His 'kingdom' is a box-like construction, seemingly suspended in mid-air, with a distant forest just out of reach. At the start of the film, Gilgamesh sets various elaborate snares to lure Enkidu, the forest creature, into his domain. These range from conventional booby-traps to altogether more unsettling creations, notably the desk drawer containing what appears to be a detached, pulsing vagina (the Quays' typically oblique reference to the point in the original legend where Gilgamesh sends a prostitute to seduce Enkidu). Enkidu himself is a bird-like creature, partly made up of genuine animal skeletons, whose wide-eyed guilelessness proves his downfall. The film had numerous inspirations besides the Gilgamesh legend. The frenzied viciousness that pervades the film was a tribute to Austrian writer Konrad Bayer, the design of Gilgamesh was sourced from artwork by Heinrich-Anton Müller, one of a trio of 'outsider artists' (the others being Friedrich Schröder-Sonnenstern and Adolf Wölfli) that the Quays originally intended to dedicate their film to, but shyness prevented them. However, they weren't too shy to include a back-handed swipe in the title - 'Hunar Louse' is a satirical representation of Lunar House in Croydon, the headquarters of the Home Office's Immigration and Nationality Directorate, which called the Quays' visa status into question at the time they were making the film. Though this was alarming at the time, the experience helped fuel the paranoid, Kafkaesque atmosphere that pervades their film.

这部1985年的电影拥有奎氏兄弟（The Quays）作品中最长的片名，通常被称为《这把难以名状的小扫帚》（This Unnameable Little Broom），不过奎氏兄弟自己称其为《吉尔伽美什》（Gilgamesh）。它最初是作为英国第四频道（Channel Four）一档时长一小时的节目提案而诞生的，旨在探索古代巴比伦史诗《吉尔伽美什》的各个方面。《吉尔伽美什》是已知现存最古老的文学作品，该节目将结合木偶动画……

这部半小时的动画电影取材自朱莉娅·唐纳森撰写、阿克塞尔·舍夫勒绘制插图的同名儿童画本，由著名动画片《咕噜牛》的原班人马制作，讲述了一个关于友情与亲情的魔幻故事。善良的女巫在旅途中遇到了行行色色的动物，她邀请它们住到她的扫帚上，这让一直伴随她的小猫倍感失落。这群动物最后从恐怖的红龙手中救回了女巫，而作为回报，她制作了一把新的扫帚，让每个动物都在扫帚上拥有自己的空间。

1870年秋，大哥(李连杰 饰演)一身官服，在城墙顶俯瞰自己的就职典礼舞台；充满理想、胸怀壮志的他，如果没有走上这条不归路，极可能是推翻腐败清庭的新中…

讲述了一对曾经深爱的恋人，因误会和现实压力被迫分开。时间流逝，他们的感情并未淡化，反而在心中愈发浓烈。多年后，命运让他们再次相遇，旧情复燃，但他们必须面对来自家庭、社会以及内心深处的重重矛盾与挣扎。在爱与痛的边缘，他们努力寻找属于自己的幸福之路。每一次重逢都充满希望，但也伴随着新的挑战，他们必须勇敢地面对过去，才能找到真正的幸福。

在20世纪30年代早期的英国，20岁的弗洛拉·波斯特刚刚成为孤儿，每年仅有100英镑收入，她和远方的亲戚住在冰冷舒适的农场里。在这个阴郁的农场里，每个人都完全陷入了混乱，但弗洛拉试图理清一切……

在20世纪30年代早期的英国，20岁的弗洛拉·波斯特刚刚成为孤儿，每年仅有100英镑收入，她和远方的亲戚住在冰冷舒适的农场里。在这个阴郁的农场里，每个人都完全陷入了混乱，但弗洛拉试图理清一切……

苏亦涵是苏家嫡系千金，父亲早亡，继父赵常威靠伪装入赘苏家，又设法害死苏亦涵的母亲，并骗取公司掌控权。苏亦涵深爱第一任丈夫沈嘉俊，但沈嘉俊却被自己的继妹赵雨汐设计害死，并嫁祸给苏亦涵。因为沈嘉俊的死，众人把责任都推给苏亦涵，纷纷给苏亦涵找麻烦。而沈嘉俊的弟弟沈天骐为报复苏亦涵，故意以陌生人的身份娶了苏亦涵，并想方设法地折磨并报复苏亦涵。苏亦涵知道一切是被人陷害后，开始了反击。