美国无声短片《锻造场景》（英语：Blacksmith Scene），获1995年美国National Film Preservation Board的National Film Registry。导演是爱迪生制造公司（Edison Manufacturing Company）的威廉·迪克森（William K.L. Dickson），1893年5月9日公开放映，是最早由演员扮演角色的电影。出现的三人中有约翰·奥特（John Ott）和查尔斯·凯塞（Charles Kayser）。

美国无声短片《锻造场景》（英语：Blacksmith Scene），获1995年美国National Film Preservation Board的National Film Registry。导演是爱迪生制造公司（Edison Manufacturing Company）的威廉·迪克森（William K.L. Dickson），1893年5月9日公开放映，是最早由演员扮演角色的电影。出现的三人中有约翰·奥特（John Ott）和查尔斯·凯塞（Charles Kayser）。

故事发生在震撼了整个大陆，牺牲了无数生命的代理契约战争之后的数十年……。从属于独立交易都市豪斯曼的自卫骑士团的塞希莉・坎贝尔，有一天被某位陌生…

曾经，一场可怕而又残酷的战争使整个大陆满目疮痍生灵涂炭，这场战争亦使“恶魔契约”成为了禁忌的代名词，从此成为历史，被封印在了滚滚的时间洪流之中。一晃眼多年过去，人们终于迎来了和平年代，瑟希莉（藤村步 配音）作为旧日贵族，如今的自卫骑士团少女，守护着父亲留给她的古剑，寻找着将其再度锻造的契机。 　　某日，瑟希莉在一场意外之中发现拥有强大魔力的“恶魔契约”重现世间，与此同时，一位名叫路克（冈本信彦 配音）的男子，则用他神秘的佩剑，轻易破解了这强大的力量，巧合的是，路克正在经营一间锻造店。想要锻造宝剑的少女，遇见了经营着锻造店的少年，当两人相遇，命运的车轮开始了转动。

《Big Giant Swords》是一部美国纪录片式真人秀节目，由铁匠Michael “Irish Mike” Craughwell 主演。他居住在马萨诸塞州的马萨葡萄园岛，以打造巨大、奇异且极具想象力的武器而闻名。节目跟随他的工作过程，从客户提出天马行空的创意，到Mike如何在有限的预算与工艺条件下将这些“超大剑”变为现实。观众不仅能看到金属锻造、切割、焊接等工艺细节，还能见证这些巨剑在完成后的试用环节，既充满热血，也充满幽默与娱乐性。

百无聊赖的法国滨海小镇，惊传离奇车祸断头案，悬案背后暗藏两大外星势力——邪恶0帝国与善良1帝国的角力。0帝国武士附身普通渔夫，与人类生下混种小王子，恶魔血脉开枝散叶，宇宙和平岌岌可危；1帝国公主为阻止0帝国耍阴招侵略地球，奉女王之命无差别血刃敌军臣民。在这个无人在意的世界角落，关乎人类未来的宇宙大战一触即发。

克里斯（利亚姆·海姆斯沃斯 Liam Hemsworth 饰）一直希望能够成为一名警察，却在连连遭遇失败后来到了帝国装甲卡车公司，成为了那里的保镖。没过多久，克里斯便发现，公司内的安保布置看似无坚不摧实际上漏洞百出，他将这个秘密告诉了好友艾迪（迈克尔·安格拉诺 Michael Angarano 饰），谁知道自己的无心之谈竟然惹出了之后的一连串大麻烦。 　　克里斯决定和艾迪联手，两人策划了一宗现金抢劫案，打算在得手之后远走高飞。谁知道这个看似一帆风顺的计划，却因为精明的警探詹姆斯（道恩·强森 Dwayne Johnson 饰）的介入而徒增了风险。与此同时，掌控该片区的黑帮老大亦对两人的计划产生了兴趣。

'Empire' was the trailer for the Viennale 2010 and screened in over one hundred cinemas in Austria and during the festival in Vienna.

'Empire' was the trailer for the Viennale 2010 and screened in over one hundred cinemas in Austria and during the festival in Vienna.

Short film Empire is based on a radio drama Sorry, Wrong Number by the American writer Lucille Fletcher. Actually, Sokurov draws on a single theme forming the background for the story of the thriller — the woman's illness… The heroine is bed–ridden and her only means of communication with the outside world is her telephone — until a killer interrupts the conversation… 　　Sokurov removes all the dialogues, leaving us alone with the heroine — “a living skeleton” among the refined, with a touch of Modern–style, furnishings — who is listening to a radio broadcasting of Traviata, with its pleas for mercy and love. An elegant coffin–home is the spatial centre and symbolization of the entire film. And inside the coffin we certainly see the actress — the famous Russian ballerina Alla Osipenko who plays not only the heroine but also her own self. 　　This metaphoric cinema–image bears an allusion to the great “handicapped” Sarah Bernhardt who was reported to sleep in a coffin, as well as to the entire complex of aesthetised Decadence, converting an apology of Death into a lifestyle. Here is the key to the code of the title. Empire is a style that attempted to reanimate the dead ancient harmony. The heroine of Sokurov's film communicates with her phone as the only partner, and sort of interferes with the beyond, attracting this air — intangible yet saturated with danger. It is from the radio air that she accumulates both pleasure and tranquillity — the aria of dying yet beloved Violetta, while the killer's silhouette materializes from the phone air. A chamber pot, overturned and spilt by the killer in haste, remains the only evidence of human activities in this boudoir of Death. Sokurov's metaphor, clad in naturalistic details, produces the effect of ironic disclosure: “a wet spot” is left after a symbol. 　　The film was shot as a study work of a VGIK student S.Sidorov. At that time Sokurov did not have a chance to launch a project of his own, therefore he used this possibility to work. Visual conception of this film anticipates a considerable number of Sokurov's future experiments: light that models the space, levelling of colours, correlation of contrasting textures.