Cast 　　Leonie Rysanek .... Elektra 　　Astrid Varnay .... Clitamestra 　　Catarina Ligendza .... Crisotemis 　　Dietrich Fischer-Dieskau .... Orestes 　　Hans Beirer .... Egisto 　　Josef Greindl .... Criado 　　Kurt Böhme .... Ein alter Diener 　　Christopher Doig .... Ein junger Diener 　　Olga Varia .... Die Schleppenträgerin 　　Carmen Reppel .... Die Vertraute 　　Colette Lorand .... Die Aufseherin 　　Rolf Boysen .... Agamenon 　　Konzertvereinigung Wiener Staatsopernchor 　　Wiener Philharmoniker 　　Karl Böhm .... conductor

Johann Strauss Jr. is the darling of waltzing Vienna, but he is haunted by constant pressure to outdo himself with each new composition. When Strauss meets Nicholas, a humble young stableboy, they realize they have much in common. The composer and the boy share the healing bond of trust and embark on a collaboration that will be music to the world's ears. 　　Video offers English, French and Spanish language selection as well as Descriptive Text.

Interview with Jean-Marie Straub and Danièle Huillet about their movie Klassenverhält

Quelques mois avant son entrée à l’Académie française ( 1972 ), Claude Lévi-Strauss revient sur son itinéraire et sa pensée dans un entretien exceptionnel accordé à Jean-José Marchand. A partir de ces archives uniques, Pierre Beuchot réalise en 2004 un portrait qui reste la meilleure des introductions à l’œuvre de Claude Lévi-Strauss.

如果说《想当年》是费里尼对少年时代的回忆，《八部半》是对他中年创作危机的记载，《罗马》是对他所爱的城市的礼赞，那么本片就是他对Cinecitta电影厂的颂歌。 　　影片将回忆、嘲讽、自省、幻想等元素融合在一起，让我们见识了镜头前后的各种人物。影片高潮是《甜蜜的生活》的重映把片中主角重新聚集一堂，颇有一点大师主掌央视《同一首歌》的味道。 　　第40届戛纳电影节(1987)　 40周年奖　 费德里科·费里尼 　　第13届凯撒奖(1988)　 凯撒奖-最佳外国电影(提名)　 费德里科·费里尼

如果说《想当年》是费里尼对少年时代的回忆，《八部半》是对他中年创作危机的记载，《罗马》是对他所爱的城市的礼赞，那么本片就是他对Cinecitta电影厂的颂歌。 　　影片将回忆、嘲讽、自省、幻想等元素融合在一起，让我们见识了镜头前后的各种人物。影片高潮是《甜蜜的生活》的重映把片中主角重新聚集一堂，颇有一点大师主掌央视《同一首歌》的味道。 　　第40届戛纳电影节(1987)　 40周年奖　 费德里科·费里尼 　　第13届凯撒奖(1988)　 凯撒奖-最佳外国电影(提名)　 费德里科·费里尼

A dawn to dusk account of a young man in search of a job. This is his day of an interview in a swell Indo-British firm where, logically, he has to look his best. His only suit, a complete one, is in the laundry, and as luck would have it, all city laundries are on strike from that morning. The film is an intense search for a new suit to be borrowed from any of his friends, the loss of a good one procured that way, again a frantic search, and finally the interview-all erratic blending of fictional narrative, news reel coverage and near-cinema-verity type documentation. The film ends with a strange interview between the dejected young man and an unseen spectator who has watched him since the film started. And at last the film arrives at a moment of judgment -- that of the value-world.