摄制组历时1年多，走访9省、自治区，沿着黄河沿岸，真实记录变迁中的古老村庄，记录黄河岸边行进的乡村中国。

土匪头子萨达尔率众抢劫时遭遇警察，负伤而逃，被流浪艺人拉朱所救。萨达尔手下赶到，将二人一起带走。萨达尔醒来认出拉朱的手鼓，告诉女儿卡莫手鼓主人就是自己的救命恩人。卡莫找到拉朱，将他从众匪中救出。卡莫说服拉朱穿上土匪的衣服，告诉他土匪的责任是劫富济贫，并教他开枪。萨达尔和拉卡策划在婚礼上抢劫，拉朱及众匪徒化妆参加婚礼。拉卡射杀新郎，抢走新娘项链。除了拉朱众匪徒均安全撤离。拉朱向警察报告了案情及另一起拉卡策划的在拉吉加哈的抢劫。警长带人守卫拉吉加哈。拉朱则返回匪窟劝众人投降。拉卡将拉朱作为密探带到萨达尔面前，萨达尔命令将他处死。拉朱逃脱，卡莫跟随，拉卡也来追杀。拉朱在卡莫劝说下回到匪窟，卡莫告诉萨达尔她要和拉朱结婚。一直爱着卡莫的拉卡企图阻止，与萨达尔发生争执，一怒之下将其杀死，成了匪首。他决心先于卡莫结婚，然后杀死拉朱……最后，几经周折，众匪徒终于在拉朱的感召下，放下武器，向警察投降。

蛟龙塘属于广西北海市，是一个没有河流的村庄，也是一个外人不敢进入的村庄，那里聚居着142名麻风康复者。这里的一些康复者在解放前曾得到当时的北海英国教会医院的救助，因此信仰基督教。 麻风病曾经被视为不治之症，主要采取隔离措施。麻风康复者不会对公共卫生造成威胁，可人们无法接纳，他们只好把当年的隔离区当成自己的家。 封闭的环境里，康复者生活在一个怎样的社会里？

作过一次临时演员后，小康（李康生）罹患歪脖子的怪病，父亲（苗天）带其四处求医。 父亲虽已有妻、子，却是贪恋年轻男孩身体的同性恋者，家庭对他早已名存实亡，已丧失承担责任的能力（或认为并没什么责任要承担），可是对于小康，他又不自觉扮演起传统意义上的“父亲”角色，却也只能是失职的。小康是年轻的同性恋者，可是却并不清楚自己期望从同性处获得怎样一种安慰，父母的貌合神离不但令他对男女关系失掉信心，对同性关系的理解也盲从地认为只是两具肉体的短暂吸引、结合。而作为被丈夫（同时代男人）与儿子（更年轻的男人）同时冷落的母亲（陆筱琳），则只能默默忍受肉体与精神的双重饥渴与孤独。

Judge Krishna (Rahul Roy) and Radha (Manisha Koirala) are in love. Due to class conflicts, they are unable to marry, but continue with a very intimate relationship, which results in Radha getting pregnant. Then Gopal (Salman Khan) enters Radha's life, and he falls in love with her. Radha, who is still in love with Krishna, is unable to express her feelings for Gopal. Circumstances become favorable for Gopal and he succeeds in marrying Radha, and subsequently, Radha gives birth to a baby girl, Shanti. Leaving the child with Gopal, Radha then leaves him, never to return. Krishna and Gopal meet and become close friends, little knowing of their mutual love. Why did Radha leave Gopal? What will be the outcome of Gopal and Krishna's friendship when they both come to know of their love for Radha?

« Entre Pyrénées et Atlantique coulent des rivières puissantes qu’on appelle les gaves. Les champs de maïs les assoiffent, les barrages bloquent la circulation du saumon. L’activité humaine bouleverse le cycle de l’eau et la biodiversité de la rivière.» « Pour voir la rivière aujourd’hui, il faut filmer plus large que la rivière, il faut filmer le bassin versant, le cycle de l’eau. Il faut la faire exister dans ses extensions souterraines et aériennes, les nappes et les nuages, mais aussi la chercher jusque dans le champ de maïs, la frayère à saumons, les retenues qui la bloquent. Il faut la filmer suspendue entre mémoire d’un passé fastueux et peur d’un avenir desséché. Filmer les gaves, c’est filmer notre monde dans son intrication de beauté et de désastre. » (Dominique Marchais)

Film takes place at the end of XIX century in a tiny colony in a Yakut taiga. A young healthy girl (a thief hunter) who occasionaly visits the village falls in love with one of the patients, a young one, and bears his child. But suddenly his wife appears, and in this strange love triangle the tragedy becomes ripe...

A young woman and man meet for lunch in restaurant nestled in the mountainous regions of Lebanon. Suddenly war seems to break out all around them. They are forced to retreat into nature.

The River, of which the central theme is desire, is the most erotic film of the silent cinema. Wreathed with the laurels of worldwide success and with an Oscar for 7th Heaven, American filmmaker of Italo-Swiss origin, Frank Borzage (1894-1962) conceived this work with complete artistic freedom. The immense natural sets were built in the open-air on a lot at Fox Film in Westwood, Los Angeles. The initial situation is of an Eden-like simplicity: the initiation into love of a male virgin, a man of the woods coming into contact with a mysterious female urbanite about whom we learn but little, other than that she "has lived life to the full" and that she is always monitored by the crow belonging to her lover who was imprisoned for murder. There follow the hazards of seduction and refusal, ruses and inhibitions, endless desires confessed, with many hitches, right up to metamorphosis into love. The whole narrative unfolds on the banks of a river which reveals the nudity of the bodies (sex), the mortal perils of the vortex (passion), the purification and promise of a harmonious fulfillment (the sea.) When it first came out the film was pursued by misfortune: not quite knowing how to promote it, Fox disguised the work with a musical prologue and a spoken word ending, filmed behind the back of the cineaste (the 'talkie' version was unseen outside of the United States). The strong sensuality of the images shocked puritan America: The River was forbidden a screening in many States and a tacit consensus limited its distribution. Many newspapers passed over the film in silence, boycotted the publicity, and even the « New York Times » only granted it a small, embarrassed paragraph. In Europe the reception was warmer and the French movie-goers, amongst them the young Marcel Carné, praised the film to the skies (7 weeks exclusive in Paris). The surrealist milieus around André Breton saw in this Woman With Raven, as which the film was distributed in France, more true audaciousness and insight than in the entire French avant-garde. For the duration of the season, the disturbing Mary Duncan (1895-1993) provoked flights of fantasy under the same heading as Louise Brooks. Then the film disappeared, became a legend. It is rumoured to have been lost, just like the other mythic title from Fox, Murnau's 4 Devils filmed at the same time.

在亚马逊河的深处，一位著名的海洋生物学家和一位电视真人秀明星正分别致力于拯救因猎杀而濒危的亚马逊河豚。接下来的一则丑闻引发了道德问题，有如亚马逊的河水般混沌不清。马克·格里科（曾导演《马麦托》）的纪录片令人深入地探讨新媒体时代激进主义带来的道德问题。