Giseon在一所中学当管理员。他开始培养对金苏的兴趣，他是足球队的学生。他问他的足球实践如何，学校是否有任何问题。他甚至在家里拜访他。Giseon的前海…

这部现实主义风格的影片突出表现了人与人之间的隔膜和孤独。约翰·卡萨维茨既是性格演员，又是个成功的导演。这部独立制作的影片花了8个月的时间拍摄，所耗费的5万美元是他当演员时攒下的。为节约成本，他用16mm的摄影机在借用的民房里即兴拍摄，并在自己的车库里将影片翻印成35mm的影片。他花了整整3年的时间才找到代理发行的公司，但上映后却受到好评，并获得奥斯卡最佳编剧、最佳男女配角金像奖的提名。 本片描写丈夫理查德在外面和妓女调情，妻子玛丽娅却和流浪汉同床共宿，当妻子的奸情被丈夫发觉后，理查德痛骂妻子，而玛丽娅则向他声明他们的关系彻底结束。

一个由催眠师沃格勒率领的剧团在前往斯德哥尔摩途中的一个小镇上，被当地的警察局长和相关人等扣留盘查，他们被勒令要当众表演魔术，以验证是否存在超自然现象。结果他们的耍宝把戏露馅，但在逗留过程中他们却经历了许多意想不到的奇遇和变化，最终剧团受到国王的召见而重新上路。

While a film student in Łódź, Krzysztof Kieślowski portrayed a tortured artist in his classmate Piotr Studzinski’s short THE FACE. --Criterion Collection

A Cassavetes remake that pushes the original title to its ultimate consequence: strictly faces, each shot lasting as long as in the 1968 film. What's more, Benning concentrates entirely on static close-ups of the actors, caught in uncomfortable silences. Experimental filmmaker James Benning created a radical, dialogue-free remake of John Cassavetes' marriage crisis film Faces (1968). He based his eponymous 'reconstruction' on three rules: 1) Only close-ups of the faces of the actors in Faces, who included Gena Rowlands, Seymour Cassel and John Marley. 2) Every actor should be on screen the same length of time that they were in the original. 3) Every scene should last as long as it did in Cassavetes' film. So if the original features Gena Rowlands for 15 minutes in a 30-minute scene, then Benning will have her on screen for 15 minutes in his version. To this end, Benning sometimes had to really slow down shots, giving free reign to the human fascination with faces. Unhampered by story or dialogue, viewers can concentrate fully on the faces and study and clarify the various expressions at their leisure.

The destruction of his grandparents' home leads a young man to take revenge under a masked persona.

一个人的面部，能充分表达很多情感。所以，脸型的构造对于人来说尤为重要。在这个注重外表的社会中，外貌时刻影响着旁人对于我们的态度。好看的人会受到礼遇和更多赞许，而天生丑陋的人，却需要长期忍受着身体和精神上的磨难，也很难在社会中立足。本片就是讲述了这样一群致力于面部整形的医生和他们帮助的病人们，一步步从逆境走向光明的故事。

这个数字视频从将所有使用所谓的光刻技术制作的摄影图像转移到胶片中的想法开始。在等待完成它时，用数码相机继续第一步，通过转移它们，在照片上完成脸部和它们的转换，然后在计算机内以动画的动画中摇晃它们。这种躁动，从摄影的固定性中撕裂，被与面部包裹的物体的交叉点所篡改；从固定的静止过渡到阵发性干扰和喘息的动画师巴赫的大提琴。