伟大卫国战争时期。刚从军校毕业的谢尔盖·奥加尔科夫来到前线，他的第一个任务是向炮兵师传达撤退指示。但由于缺乏经验，奥加尔科夫中途迷路，外加炮兵师已被包围，命令没有被传达，炮兵师被歼灭。奥加尔科夫被军事法庭判处死刑，上级指示他的同龄人、哈萨克族列兵朱拉巴耶夫负责押送，然而突然杀来的德国人却改变了事情发展的方向……

伟大卫国战争时期。刚从军校毕业的谢尔盖·奥加尔科夫来到前线，他的第一个任务是向炮兵师传达撤退指示。但由于缺乏经验，奥加尔科夫中途迷路，外加炮兵师已被包围，命令没有被传达，炮兵师被歼灭。奥加尔科夫被军事法庭判处死刑，上级指示他的同龄人、哈萨克族列兵朱拉巴耶夫负责押送，然而突然杀来的德国人却改变了事情发展的方向……

《柏林之狗》的故事中出现了两名截然不同的柏林警探，他们不情愿的组队协作，被迫与柏林黑社会争地盘，其间更要面对自己的人性弱点和犯罪行为，最后，他们必须做出终极决断：自己到底是执法者还是违法者。

《柏林之狗》的故事中出现了两名截然不同的柏林警探，他们不情愿的组队协作，被迫与柏林黑社会争地盘，其间更要面对自己的人性弱点和犯罪行为，最后，他们必须做出终极决断：自己到底是执法者还是违法者。

This film is largely filmed with an exploration of the film medium in certain aspects. 　　It is also concerned with making certain conceptions about time in a more illusory way than I have been inclined to explore in many other of my films. It attempts to deal with some of the paradoxes of the relationships of the "real" time which exists when the film was being shot, with the "real" time which exists when the film is being screened, and how this can be modulated by technical manipulation of the images and sequences. 　　The film is in two parts joined by a central superimposition of the material from both parts. The first part is made from a small section of film shot by me in 8mm colour, and later refilmed in various ways from the screen in 16mm b/w. The b/w material was then printed in a negative positive superimposition through colour filters creating a continually changing 'solarization' image, which works in its own time abstractly from the image. The second part is made by treating very early b/w newsreel of a similar subject in the same way. As a two screen film the second screen has a b/w version of the whole film. MLG.

This film is largely filmed with an exploration of the film medium in certain aspects. 　　It is also concerned with making certain conceptions about time in a more illusory way than I have been inclined to explore in many other of my films. It attempts to deal with some of the paradoxes of the relationships of the "real" time which exists when the film was being shot, with the "real" time which exists when the film is being screened, and how this can be modulated by technical manipulation of the images and sequences. 　　The film is in two parts joined by a central superimposition of the material from both parts. The first part is made from a small section of film shot by me in 8mm colour, and later refilmed in various ways from the screen in 16mm b/w. The b/w material was then printed in a negative positive superimposition through colour filters creating a continually changing 'solarization' image, which works in its own time abstractly from the image. The second part is made by treating very early b/w newsreel of a similar subject in the same way. As a two screen film the second screen has a b/w version of the whole film. MLG.

История о подвиге лётчиков 1-го минно-торпедного авиационного полка ВВС Балтийского флота во главе с полковником Преображенским. У них была сложнейшая боевая задача – нанести первые бомбовые удары по Берлину, столице фашистской Германии.

История о подвиге лётчиков 1-го минно-торпедного авиационного полка ВВС Балтийского флота во главе с полковником Преображенским. У них была сложнейшая боевая задача – нанести первые бомбовые удары по Берлину, столице фашистской Германии.

自然主义电影，倡导强身健体的科教片，早期的剥削片抑或是纳粹上台前的种族优化论宣传？不过有一点可以肯定：Leni Riefenstahl（她本人在里面首次“触电”，本色出演其最初的职业选择——舞者，不过我是不知道哪一个是她。）的纪录片《奥林匹亚/1938》绝对受到此片的影响！

大型纪录片《通向繁荣之路》立足历史纵深和全球视野，以习近平主席亲自谋划、亲自部署、亲自推动共建“一带一路”倡议为主线，全面深刻阐释习近平主席洞察世界发展大势、顺应时代进步要求的思想伟力，以及着眼推动构建人类命运共同体，创造性传承弘扬丝路精神的定力决心。节目以“共商共建共享”原则为表达逻辑，从基础设施“硬联通”、规则制度“软联通”、民心相交“心相通”等不同角度，聚焦十年来中国与共建国家携手，互利共赢，共同推动高质量发展的生动实践。 　　《通向繁荣之路》全片共分六集，分别为《大道同行》《跨越山海》《轻关易道》《心手相连》《向新而行》和《和合共生》。 　　在共建“一带一路”倡议提出十周年之际，这部纪录片的播出将深化和扩大国际共识，凝聚起更加广泛的力量，持续推进共建“一带一路”高质量发展，汇聚构建人类命运共同体的强大合力。