Uptight fashion model Tara has trouble dealing with the amorous advances of sleazy photographer Hal. The situation is compounded in severity after Tara discovers that her father Fred has become involved with the much younger Angie.

在智利北部的阿塔卡玛沙漠，那里干旱荒芜，在这样一个极地，坐落着世界上最强大的射电天文观测设备-阿塔卡玛毫米/亚毫米波阵列望远镜。科学家借助这组望远镜获得有关星系和行星演变的数据，寻找新天体以及探寻着宇宙中是否村能进化成生命的物质，在各个领域对太空进行了进一步地探索，此外，，阿塔卡玛阵列望远镜带给人们的视野将揭开最神秘的黑的面纱。在这样荒芜的地方，有一群伟大的科学家，他们勇于探索的精神将人类推向进一步的文明，在静静的沙漠之上，阿塔卡玛阵列望远镜默默仰望天空，激发着人们探索宇宙的激情。

宇宙的某个角落，有一颗叫塔拉的星球。那里风光格外美丽，那里没有战争，没有大规模杀伤性武器，那里的居民成天载歌载舞，宽容、和平而友善，没有任何忧虑。即便是再和谐的地方，也往往会出现一两个不合节奏的小插曲--早熟少女玛拉（伊万·蕾切尔·伍德），就是泰拉星上的"异类"。小玛拉虽然年纪不大，性格却和大部分不求甚解的泰拉星人迥异。她天资聪颖、主见过人，热衷科技和新发明，还最喜欢打破沙锅问到底，就塔拉星人敬若神明的众神，玛拉也总疑问多多。好奇宝宝的叛逆，不但让老爸（丹尼斯·奎德）吃不消，就连族中的老人们也很是头疼。 　　突然某天，塔拉星的天空之上，出现了未知的阴影。难道，真是小孩子不懂事，若怒了神灵？又或者，这些样子看起来像宇宙飞船的物事，乃新莅临星球的使者坐骑？塔拉星人还在揣揣不安之时，呼啸而来的炮弹迅速击碎了他们的天真。将长枪短炮对准泰拉星的，竟然是意欲霸占他们美丽家园的外星侵略者！面对突如其来的侵略，从未经历过激战的泰拉星人，第一次手足无措。而心狠手辣的外星侵略者，不但大举进攻，还公然进行绑架，玛拉的爸爸也成了被绑走的受害者。 为了弄清状况、找到爸爸，大胆的玛拉冒险救回了坠地受伤的外星飞行员吉姆（卢克·威尔森）。从吉姆口中，她方才得知，原来这些烧杀抢虐的侵略者，正是来自地球的人类。因为无休止的战争和过度开采资源，地球以及人类后继的临时居所全都被摧残得奄奄一息，倘若再不能找到适宜居住的地方，幸存的少数者将很可能面临灭绝的危机，美丽的塔拉星，正是他们最后的希望。问题只有一个：这个星球上充满了供塔拉星人呼吸的氦气，而要将其改变成适合人类居住，必然需要使其完全氧化，而新环境对于塔拉星球的居民无意是致命一击。生死一线间，玛拉和吉姆能不能共同解决泰拉的危机？地球人类和塔拉居民又真的可以和平共处吗？

In an episode that occurs halfway through Tarrafal, Cape Verdean immigrant José Alberto, having just received his expulsion notice, encounters the elderly, displaced Fonthainas resident Ventura waiting on the side of a dirt road as his friend, Alfredo tries in vain to catch rabbits by thrashing random bushes with a wooden club. In a way, the idea of silent, enduring landscapes as figurative intersections for other unfolding - and often converging - human stories (a recurring theme in José Luis Guerín's cinema as well) may be seen as a metaphor for Pedro Costa's densely layered themes of dislocation and statelessness. As subsequently revealed in The Rabbit Hunters, Alfredo, too, is homeless, resorting to a life in the streets after having been thrown out of the apartment by his wife. In Tarrafal, this converging image of forced - and implicitly traumatic - displacement and exile is established in the opening images of José Alberto's ironic inquiries to his mother over the derelict conditions of their ancestral houses in Cape Verde from his own ramshackle home in the slums. As the conversation morphs from the neglect and inhabitability of their beloved, deserted homes that recalls the reclamation of abandoned ghost houses in In Vanda's Room, to the strange tales of a blood-sucking phantasm who foretells a person's hour of death by surreptitiously leaving letters in the most mundane of hiding places to be subsequently retrieved at the time of their immutable appointment - an impersonal, life-altering communication that alludes to the state's arbitrary dispensation of deportation and eviction notices in modern day Portugal - Costa illustrates a sense of anonymous interchangeability among the transitory, drifting souls of Tarrafal. Visually, this sense of surrogacy and transplantation is reflected in the repeating angular doorway view of José Alberto's house: first, in the solitary image of José Alberto facing away from the camera as he sits on a wooden plank to smoke, then subsequently, in a reframed shot of Ventura and Alfredo seated on the same plank looking out into the neighboring town, commenting on the profound transformation of the once desolate landscape (note Alfredo's humorous misidentification of stray cats as rabbits that further reinforces their seeming interchangeability). Moreover, intrinsic in José Alberto's sad tale of requesting a work release to single-handedly bury his estranged father, and the rabbit hunters' conversation over their mistreatment and death at the hands of authorities is the specter of Tarrafal's unreconciled history as a prison camp where inmates were tortured and relegated to die a slow death. Composed as skewed, frame within frame stationary shots that evoke the acute angles and distanced address of Straub/Huillet, these parallel testimonies of dislocation, separation, entrapment, and fatedness unfold through supplanted images of interchangeable, moribund, drifting ghosts that integrally reflect their own erasure and social invisibility.

如果去黑山共和国的塔拉峡谷探险的话，你需要足够的勇气和一张结实的木筏。菲克雷特邀请我们到他的木筏上，给我们讲述他的故事。这是一条位于巴尔干的汹涌河流，在这种塔拉湍急的水流中，操控木筏并不是件容易的事。菲克雷特是一名木筏摆渡者，也是木筏上的船长，这种危险的职业在欧洲几乎已经消失了，他和他的家人还坚守着这项传统工作。木材是这个地区的主要收入来源，用树干拼装成一支木筏在这里被称为“漂浮的木头”。从十二岁起就开始摆渡木筏的菲克雷特，已经将塔拉河看作是他生命中的一部分，一切从这里开始，一切也会在这里结束。

Mustafa Kemal had just begun his journey after proving himself in 1915 at the Gallipoli front. He would go on to face major battles on the eastern front against the Russians and later against the British in Syria, ultimately becoming the only Ottoman officer not to lose a battle during WW1.

Graduated from the military school as an idealist patriot, Mustafa Kemal is an officer in the Ottoman army who wears his uniform with pride. He comes to realise that the Ottoman Empire is slowly rotting.

车手瑞奇·鲍比(威尔·法瑞尔饰)是NASCAR赛车的传奇。他在赛场上百战百胜，几乎赢取了所有的奖金，这也使得他成为了美国人心目中的民族英雄。瑞奇和…

瑞奇•鲍比（威尔•法瑞尔 Will Ferrell 饰）的赛车手父亲在他幼年时便宣告失踪，父亲临走前“不是第一，便是最后”的宣言一直陪伴着瑞奇和死党卡尔（约翰•C•赖利 John C. Reilly 饰），成年后的瑞奇与卡尔双双进入丹尼特车队担任维修人员，一次在塔拉德加的比赛中，赛车手因畏惧故障选择退出，救场的瑞奇展示了强大的驾驶技术夺得第三名一举成名，自此和卡尔转为赛车手为车队出战，出色的成绩令瑞奇名利双收，抱得娇妻，好友卡尔则忠心耿耿担任绿叶为他扫清赛道，不可一世的瑞奇很快遭到了队友的挑战——来自法国的F1车手让•杰拉德，杰拉德彻底击败瑞奇令其一蹶不振，正当丧失了一切的瑞奇心灰意懒时，失踪多年的父亲突然出现，要帮助他夺回一切……