Eric Baudelaire, artist and photographer, films on Super-8 the political and personal reflections of May, the daughter of the founder of the Japanese Red Army Shigenobu, and of Adachi Masao, the legendary experimental filmmaker who gave up film to fight for the Palestinian cause. 　　Like his compatriot Philippe Grandrieux, the French artist Eric Baudelaire has made a personal film about the history of the Japanese Red Army (JRA), an extreme left-wing group that took up arms in the early 1970s in order to realise the proletarian revolution. The JRA hijacked aeroplanes and in 1972 organised a raid on the airport of Lod, in which 26 people died. They also fought in Lebanon, with the People’s Front for the Liberation of Palestine (PFLP). 　　On the soundtrack, we hear the story of the Japanese filmmaker Adachi Masao, who lived in Beirut for years and at the time was spokesman for the JRA. Shigenobu May, the daughter of Shigenobu Fusako, the woman who founded the JRA, talks about her childhood in Lebanon and her many secret identities. 　　Baudelaire illustrates their stories with 8mm films that he made in Beirut and Tokyo, at the places where both were active. We also see clips from films by Adachi and newsreel footage of the attack at Lod and the arrest of Shigenobu Fusako in 2000.

Eric Baudelaire, artist and photographer, films on Super-8 the political and personal reflections of May, the daughter of the founder of the Japanese Red Army Shigenobu, and of Adachi Masao, the legendary experimental filmmaker who gave up film to fight for the Palestinian cause. 　　Like his compatriot Philippe Grandrieux, the French artist Eric Baudelaire has made a personal film about the history of the Japanese Red Army (JRA), an extreme left-wing group that took up arms in the early 1970s in order to realise the proletarian revolution. The JRA hijacked aeroplanes and in 1972 organised a raid on the airport of Lod, in which 26 people died. They also fought in Lebanon, with the People’s Front for the Liberation of Palestine (PFLP). 　　On the soundtrack, we hear the story of the Japanese filmmaker Adachi Masao, who lived in Beirut for years and at the time was spokesman for the JRA. Shigenobu May, the daughter of Shigenobu Fusako, the woman who founded the JRA, talks about her childhood in Lebanon and her many secret identities. 　　Baudelaire illustrates their stories with 8mm films that he made in Beirut and Tokyo, at the places where both were active. We also see clips from films by Adachi and newsreel footage of the attack at Lod and the arrest of Shigenobu Fusako in 2000.

2008年，首次来到日本的法国导演Philippe Grandrieux拜访了曾在20世纪60年代与著名导演若松孝二齐名的足立正生，二人初次见面，相谈甚欢。镜头对准这个在电影以及学运方面都留下重要足迹的男人，探寻着他对美学、伦理、政治乃至电影和友情的见解。他提出“美越发增强了我们的决断力吧！（美が私たちの決断をいっそう強めたのだろう）”，或许正与陀思妥耶夫斯基那句名言相符——“美将拯救世界”。

2008年，首次来到日本的法国导演Philippe Grandrieux拜访了曾在20世纪60年代与著名导演若松孝二齐名的足立正生，二人初次见面，相谈甚欢。镜头对准这个在电影以及学运方面都留下重要足迹的男人，探寻着他对美学、伦理、政治乃至电影和友情的见解。他提出“美越发增强了我们的决断力吧！（美が私たちの決断をいっそう強めたのだろう）”，或许正与陀思妥耶夫斯基那句名言相符——“美将拯救世界”。

Man-taek是个老实憨厚的农民，他已经38岁还没有结婚这真让他的父母头疼，老两口苦口婆心希望他赶快讨个老婆，他自己却总是吊儿郎当不知上进。一次，他的父母得知邻居在中亚国家的乌兹别克相亲成功且娶了个黄头发蓝眼睛的美人，于是他们要求儿子也参加乌兹别克的征婚旅行团，与他同行的还有一大龄未婚男青年Hee-chul，两人上缴了昂贵的费用，在“我要结婚”的壮烈口号声中踏上了行程。两人抵达乌兹别克后，公司为他们配备了专门的翻译，在翻译的陪同下约见不同的女性，可傻傻的Man-taek一贯表现不佳，不是举止不雅就是回答问题拙劣，他的翻译Lala要不断帮他圆场。好心的lala千方百计帮助Man-taek，但他却始终不争气，最糟糕的是他居然看上了翻译lala……

Man-taek是个老实憨厚的农民，他已经38岁还没有结婚这真让他的父母头疼，老两口苦口婆心希望他赶快讨个老婆，他自己却总是吊儿郎当不知上进。一次，他的父母得知邻居在中亚国家的乌兹别克相亲成功且娶了个黄头发蓝眼睛的美人，于是他们要求儿子也参加乌兹别克的征婚旅行团，与他同行的还有一大龄未婚男青年Hee-chul，两人上缴了昂贵的费用，在“我要结婚”的壮烈口号声中踏上了行程。两人抵达乌兹别克后，公司为他们配备了专门的翻译，在翻译的陪同下约见不同的女性，可傻傻的Man-taek一贯表现不佳，不是举止不雅就是回答问题拙劣，他的翻译Lala要不断帮他圆场。好心的lala千方百计帮助Man-taek，但他却始终不争气，最糟糕的是他居然看上了翻译lala……

该剧以1980年春天光州民主化运动的时代为背景展开，在历史的漩涡中，像命运一样相互陷入对方的熙泰和明熙之间凄婉的爱情故事。在不知道即将到来历史漩…

一個不斷用性自由來反抗母親的女權主義者，結婚以後卻為了家庭穩定辣手殺人，而唯一讓她感到痛苦的，只有自己對丈夫的一次背叛。

大凉山深处，彝族少女清花迎来了初潮的时刻。根据传统，初潮意味着长大，需要一条新裙子步入成人的世界。但父母外出，抚养她长大的爷爷已经过世。清花和小姐妹们决定自己迈上寻找裙子的旅途。

Their Morris packed to the gills, the punctilious Keith and the more spontaneous Candice-Marie arrive at a Dorset campground where they pay £10 in advance for ten nights. It's peaceful: they visit Corfe Castle, eat vegetarian food, and go in search of raw milk. Then a fellow with a loud radio pitches his tent near theirs: Keith is beside himself and it doesn't help when Candice-Marie decides to befriend the young man. Things get worse when a couple arrive on a motorcycle, make noisy love in their tent, and then start an illegal campfire. It's too much for Keith: he loses it. Will our middle-class couple find a bucolic corner, or are they doomed to brawl with the noisy and unwashed? 　　(from imdb)