卡通人物Fat Albert为了帮助失落少女朵丽斯，闯入了现实世界，当朵丽斯渐渐恢复信心，Fat Albert和他的朋友也必须回到卡通世界中去，否则就要面临消失的后果，同时，Fat Albert也发现了自己和朵丽斯之间的关系……

影片改编自美国70年代开始风行的热门卡通剧集，“胖子阿伯特”这个人物形象可谓是家喻户晓，当然也避免不了被搬上大银幕的命运。电影主要围绕阿伯特…

A family is terrorized by an evil doll named Robert, which seems to come to life after an elderly housekeeper is dismissed. As the attacks grow more intense, the parents struggle with their disbelief and fear while trying to break the curse before it's too late.

拉哈瓦和他的儿子阿琼住在勒克瑙，是婆罗门一家餐饮单位的厨师长。他过着平静的生活，希望儿子得到最好的。一切似乎都很顺利，直到一些骷髅从他的衣柜里滚了出来，他被迫接受他原来的化身。

这位总是不穿衬衫的单口喜剧演员在这部六集的节目中饰演了一个版本的自己。在剧中，伯特的女儿们进入了贝弗利山庄的一所精英私立学校后，他陷入了困境，他“肆无忌惮的滑稽行为让他的家人成了被排斥的对象”。为了融入其中，伯特决定最终穿上衬衫（我们推测这既有字面意思，也有隐喻意义）并克制……

和许多犹太青年一样，萨姆（杰西·艾森伯格 Jesse Eisenberg 饰）的一生几乎都被安排好了，这让毫无悬念的生活令萨姆十分厌倦，家里的每一个人和每一件事都让他感到窒息。邻居齐默曼（贾斯汀·巴萨 Justin Bartha 饰）看出了萨姆的动摇，他主动找到了萨姆，告诉他了一些关于贩毒的消息。 　　齐默曼把萨姆介绍给了毒贩所罗门（丹尼·A·阿贝克恺撒 Danny A. Abeckaser 饰），就这样，萨姆开始了他离经叛道的新生活。很快，萨姆就展现出了聪明伶俐的一面，在业界获得了好评与肯定，与此同时，他和家人之间的嫌隙也越来越大。最终，萨姆被父亲赶出了家门，然而，他并没有因此而产生退却的念头，萨姆的野心最终会将他引导到破灭的境地。

1996, full version – 26 min. (short – 12 min.), colour, BETACAM SP Hermitage Bridge Studio 　　scenario: A. Sokurov 　　camera: A. Fedorov 　　sound: V. Persov 　　editor: L. Semenova 　　producer: A. Deryabin 　　“…the ruins of villas or palaces, castles, bridges, ancient vaults appear one by one before my eyes, like dreams; ghostly landscapes with grey trees… 　　I enter the Hermitage's halls, and nothing prevents me from approaching any picture, and the very vaults of this famous palace help me to see the canvasses better — small and big ones, almost gigantic ones, painted by this happy master.” 　　Alexander Sokurov (from the film script) 　　This is the first film of, and as of yet the only film in, a series planned by Hermitage Bridge Studios dedicated to the most important masters of European painting, whose works are included in the collection of the Hermitage Museum, the most famous of Russian museums. It in envisaged that the films will be made by the most prestigious of St. Petersburg's film directors. Only Sokurov has already made his film. 　　From the enormous list of celebrated names, Sokurov has chosen one — and a very modest one indeed: Hubert Robert, a French painter who worked between the end of the eighteenth century and the beginning of the nineteenth. He painted ruins in landscapes. 　　The formal pretext — the museum's request, intended to popularise its treasures — coincided with the film–maker's deepest need: to create a “cultural context” for his own lyrical confession. Hence, Sokurov makes the film both about the canvasses and about the fate of an artist possessed by the idea of the search for harmony. In this respect, Hubert Robert was a man of his time, a time which found its classical ideals in the ways of life of an ancient city, an ancient personality and an ancient ruler. But the contented life of the artist, like his Age, finished with the collapse of the Napoleonic empire — it ended in disaster for his family and for himself. But he lives on in the majestic ruins in the nostalgic landscapes. These were particularly popular in nineteenth century Russia. Their vogue reflects the astonishment and delight of Russians in the face of a Western civilisation that had already followed the path from formation and development to death and destruction. Russia herself was in that very period of formation in the nineteenth century — the apocalyptic impulses were already present in the culture and social life of the Golden Age of Russia. For this reason, Sokurov places Dostoevsky and Gogol's reminiscences in his narrative, as well as images of traditional Japanese theatre — a firm bulwark to this harmonic cultural tradition, since lost by Europe.

1996, full version – 26 min. (short – 12 min.), colour, BETACAM SP Hermitage Bridge Studio 　　scenario: A. Sokurov 　　camera: A. Fedorov 　　sound: V. Persov 　　editor: L. Semenova 　　producer: A. Deryabin 　　“…the ruins of villas or palaces, castles, bridges, ancient vaults appear one by one before my eyes, like dreams; ghostly landscapes with grey trees… 　　I enter the Hermitage's halls, and nothing prevents me from approaching any picture, and the very vaults of this famous palace help me to see the canvasses better — small and big ones, almost gigantic ones, painted by this happy master.” 　　Alexander Sokurov (from the film script) 　　This is the first film of, and as of yet the only film in, a series planned by Hermitage Bridge Studios dedicated to the most important masters of European painting, whose works are included in the collection of the Hermitage Museum, the most famous of Russian museums. It in envisaged that the films will be made by the most prestigious of St. Petersburg's film directors. Only Sokurov has already made his film. 　　From the enormous list of celebrated names, Sokurov has chosen one — and a very modest one indeed: Hubert Robert, a French painter who worked between the end of the eighteenth century and the beginning of the nineteenth. He painted ruins in landscapes. 　　The formal pretext — the museum's request, intended to popularise its treasures — coincided with the film–maker's deepest need: to create a “cultural context” for his own lyrical confession. Hence, Sokurov makes the film both about the canvasses and about the fate of an artist possessed by the idea of the search for harmony. In this respect, Hubert Robert was a man of his time, a time which found its classical ideals in the ways of life of an ancient city, an ancient personality and an ancient ruler. But the contented life of the artist, like his Age, finished with the collapse of the Napoleonic empire — it ended in disaster for his family and for himself. But he lives on in the majestic ruins in the nostalgic landscapes. These were particularly popular in nineteenth century Russia. Their vogue reflects the astonishment and delight of Russians in the face of a Western civilisation that had already followed the path from formation and development to death and destruction. Russia herself was in that very period of formation in the nineteenth century — the apocalyptic impulses were already present in the culture and social life of the Golden Age of Russia. For this reason, Sokurov places Dostoevsky and Gogol's reminiscences in his narrative, as well as images of traditional Japanese theatre — a firm bulwark to this harmonic cultural tradition, since lost by Europe.