巴黎公社领导人、波兰革命家雅罗斯拉夫·东布罗夫斯基的传记片。

The young officer Dubrovsky sets out to avenge the death of his father who was dishonoured and ruined by rich landowner Troyekurov. From the novel of the same name by Pushkin.

The story takes place in the 1950s. Konstantin “Kostik” Romin (Oleg Menshikov) has come to Moscow to study history and is staying with kindly aunt Alisa (Sofya Pilyavskaya), who runs a communal apartment building there. His life soon becomes intertwined with those of the other residents. Among them are Margarita Pavlovna (Inna Ulyanova) and both her former husband Lev Khobotov (Anatoly Ravikovich), a publisher of foreign poetry, and her new beau, engraver-turned-teacher Savva Ignatevich (Viktor Bortsov). 　　The main plot revolves around the congenial Khobotov’s attempts to find happiness with newfound love Lyudochka (Yelena Koreneva), while constantly being thwarted by the controlling Margarita. Another tenant is musical comedian Arkady Velyurov (Leonid Bronevoy), who is trying to revive his faltering career and escape from his own loneliness. He has become enamored of a young competitive swimmer, Svetlana (Tatyana Dogileva), who rebuffs his advances but takes a fancy to the opportunistic Kostik. 　　Kostik finds his own love interest, Rita (Valentina Voilkova), for whom he decides to forsake his playboy lifestyle. In the end he becomes the catalyst for both Khobotov and Velyurov to find some measure of happiness: the former elopes with Lyudochka with the help of Kostik's pal Savransky, and the latter is elated that Svetlana attends one of his concerts in response to a telegram Kostik had urged him to send.

In Ancient Rus, where there is modern technology - from cybernetic implants and plasma weapons to exoskeletons and giant robots, a half-blood hero named Cyberslav is trying to unravel a cruel crime in order to find out who the princely family interfered with - the embittered people or the evil spirits that flooded the local forests.

康斯坦丁·谢尔盖耶维奇·斯坦尼斯拉夫斯基是二十世纪的戏剧天才，由于他强大而非凡的才能，他设法在严酷的苏联体制中保持一个真正的艺术家所有的自由精神。在电影中，当代戏剧和电影导演们展示了斯坦尼斯拉夫斯基如何影响他们的日常工作。在寻找现代戏剧是否真的需要斯坦尼斯拉夫斯基这个问题的答案时，他们发现艺术缺乏其最本质的部分——人。

色彩：彩色 　　片长：50 min (5 episodes) 　　上映：1995 1996出碟版 　　南斯拉夫的死亡, BBC电视１９９５年播放，　１９９９年重播．　由Mediaslag编译． 　　关于把南斯拉夫分裂成几个国家并造成国际政治和人道主义危机的政治事件和战争的历史． 　　利用对所有主要的参与者的采访和历史录像，　这个系列令人感动地完成了既使人们理解似乎无法解决的的问题，　又＂及时＂的记录了历史．　１９９９年重新剪辑加了个新的结尾．　与此系列相伴的有一本同名的很好的书包含了更多的细节．　. 　　第一集：米洛舍维奇，　４２分１７秒 　　第二集：克罗地亚人的反击，４８分１４秒 　　第三集：争夺波思尼亚，一小时２６分４２秒

科索沃是南联盟所辖塞尔维亚共和国的一个省，90％以上是阿尔巴尼族，其余是塞尔维亚族、黑山族等。由于历史原因，科索沃的塞、阿两族长期不和，阿族要求建立科索沃共和国，并谋求从南联盟分离出去。而塞族则将科索沃视为自己民族历史和文化的摇篮，不愿放弃那里的一寸土地。阿塞两族针锋相对，互不让步。科索沃的民族矛盾正好被以美国为首的北约所利用。1999年1月，美国以武力强迫科索沃冲突双方依美国的方案到法国的朗布依埃进行谈判。谈判中，南联盟表示其他条款均可接受，只有北约军队进驻科索沃这一涉及南领土主权的条款不能接受。谈判最终破裂，北约于是迫不及待地对南联盟动武。3月24日，北约以保护人权之名，对南联盟发动了代号为盟军的空袭行动，将南联盟拖入战争的深渊。

《安德烈·塔科夫斯基的一天》（Une journée d’André Arsenevitch，克里斯·马凯，1999年|55分钟|录像|黑白与彩色|有声）记录了苏联电影大师安德烈·塔科夫斯基（1932—1986）生命中最后的瞬间并回顾了他的电影艺术生涯。1986年冬，正在巴黎拍摄影片《牺牲》的塔科夫斯基突然得到一个消息：多年来被苏联政府扣为人质儿子来到巴黎。征得塔科夫斯基同意后，法国纪录片大师马凯立即带着摄像机赶往拍片现场，记录了这位当代电影史上别具一格的电影诗人最后的工作瞬间。一个月之后，塔科夫斯基因病卧床不起，只能躺在床上观看刚刚拍完的电影素材。本片既是对塔科夫斯基拍摄最后一部影片的工作记录，也是对他毕生艺术道路的高度总结。本片导演克里斯·马尔凯（Chris Marker）1921年生于巴黎近郊，从影之前当过新闻记者、摄影师、评论家，从影之后依然笔耕不辍。因此，他的影片兼具电影与文学两种艺术形式之长，对摄影机的运用如同自来水笔那样挥洒自如。同时，他的影片关注世界各地的政治事件，并以独特的个人化视点读解这些事件，他在1968年法国“五月风暴”之后拍摄的影片尤其如此。在将近50年的电影生涯中他拍摄过将近50部影片，如《1952年奥运会》（1952）、《北京的星期天》（1955）、《西伯利亚来信》（1958）、《海堤》（1963）、《美丽的五月》（1963）、《远离越南》（1967）、《红色天空》（1977）、《无日》（1982）、《亚历山大之墓》（1993）等等。进入21世纪，年逾八旬的马凯继续为观众带来新的作品，如《未来的记忆》（2001，与雅尼克·贝隆合作）、《栖息的猫》（2004）。（关于马凯拍摄影片《北京的星期天》的情况，参见张献民《与朗兹曼谈〈浩劫〉》，载《当代电影》杂志2004年第5期“2004北京国际纪录片展”专辑）。

In a sparse and inhospitable land, the policeman Enzo Vitello, a man with a dark past, is obsessed with "Dostoyevsky", a serial killer whom he kills with a peculiarity: next to the body, the murderer always leaves a letter with his desolate and very clear vision of the world, of life and darkness that Vitello hears resonating in him.

In a gritty and gloomy village, detective Enzo Vitello becomes increasingly obsessed with tracking down the serial killer “Dostoyevsky”. The killer has a habit of leaving letters next to his victims’ bodies in which he describes their last moments. Seduced by the murderer’s nihilistic notes, and driven by his own inner demons, Vitello embarks on a correspondence with Dostoyevsky outside the knowledge of his investigative team. This exchange drives Vitello into the darker corners of his soul and forces him to confront a secret from his past – a secret that led him to abandon his daughter Ambra when she was a toddler. Vitello penetrates deep into the murderer’s head, but also opens the doors to his own thoughts and emotions. A gruelling game of cat and mouse develops.