本条目集中了欧洲16位导演的短片作品，具体包括：
01.《一个女孩的故事》 About a Girl - 布莱恩·帕西沃 Brian Percival

02.《男孩和自行车的故事》 Boy & Bicycle - 雷德利·斯科特 Ridley Scott

03.《亲爱的电话》 Dear Phone - 彼得·格林纳威 Peter Gre enaway

04.《蚁蛉》 Doodlebug - 克里斯托弗·诺兰 Christopher Nolan

05.《八岁》 Eight - 斯蒂芬·戴德利 Stephen Daldry

06.《煤气工人》 Gasman - 琳恩·拉姆齐 Lynne Ramsay

07.《吃口香糖的女孩》 Girl Chewing Gum - 约翰·史密斯

08.《家》 Home - 莫拉格·麦金农 Morag McKinnon

09.《兜风》 Joyride - 吉姆·格莱斯皮 Jim Gillespie

10.《阴差阳错》 Inside Out - 英国兄弟导演托马斯·古德、查尔斯·古德 Tom & Charles Guard

11.《约翰韦恩的崇拜者》 Je T’aime John Wayne - 托比·迈克唐纳 Toby Macdonald

12.《盗羊贼》 The Sheep Thief - 阿西夫·卡帕迪亚 Asif Kapadia

13.《短发和卷发》 The Short & Curlies - 迈克·李 Mike Leigh

14.《说谎》 Telling Lies - 西蒙·埃利斯 Simon Ellis

15.《联合王国一瞥》 UK Images - 马丁·帕尔 Martin Parr

16.《谁是我心爱的女孩》 Who’s My Favourite Girl? - 阿德里安·麦克道尔 Adrian J.McDowall

导演约翰·史密斯于英国首次封锁期间，透过自家窗户拍摄了这部纪录片，节选了英国首相鲍里斯·约翰逊就新冠病毒发表的演说，与伦敦天际线的景色相结合。政府的决策将商业利益置于公众健康之上，且权力中心实则在伦敦金融城，而非议会。片中的伦敦既恐怖又美丽，瞬息万变的光照，在建筑物上呈现出变幻莫测的效果。镜头从闪闪发光的摩天大楼，移向淹没在其巨大阴影中的密集住房。代表着企业权力的千楼一面的大厦，与千差万别的个体生活形成了强烈对比。

幽默滑稽的描写了一个导演试图控制在他镜头前出现的一切。

“In The Black Tower we enter the world of a man haunted by a tower which, he believes, is following him around London. While the character of the central protagonist is indicated only by a narrative voice-over which takes us from unease to breakdown to mysterious death, the images, meticulously controlled and articulated, deliver a series of colour coded puzzles, jokes and puns which pull the viewer into a mind-teasing engagement. Smith’s assurance and skill as a filmmaker undercuts the notion of the avant-garde as dry, unprofessional and dull and in The Black Tower we have an example of a film which plays with the emotions as well as the language of film.”
----Nik Houghton, Independent Media 1987

The building of the M11 Link Road in East London provoked a long and bitter campaign by local residents to protect their homes from demolition. Blight was filmed during this period, while houses were demolished and land cleared. Using recordings made of people's reminiscences, the score incorporate fragments of speech and natural sounds. The film is based on real events which transformed people's lives, but it is much more than a conventional documentary. Enigmatic stories are created and the mundane is transformed into the marvellous. The music and images are woven into an elegiac evocation of memory and loss.

"John Smith's Leading Light evolves a sense of screen depth and surface through the simple agency of light. The film is shot in a room over a period of a day and records the changes in light through the single window. The image is controlled through manipulation of aperture, of shutter release, of lens, but the effect is more casual than determined and the spectator is aware primarily of the determining nature of following sunlight."
Deke Dusinberre 'Perspectives on British Avant-Garde Film' catalogue 1977

Being John Smith is a deceptively wry and deeply felt work by the English avant-garde legend, in which Smith reflects on his life and career by way of his generic name, grappling with his own mortality and legacy, through a minimal, unassuming deployment of text, image, and voice.

“London artist John Smith uses light-hearted humour to explore theoretical concerns - Gargantuan, for instance, is both pleasantly silly and acutely conscious of how imagery depends entirely on its framing. A voice-over intones the words ‘huge’ and ‘strapping’ as a lizard almost fills the screen, then ‘medium’ as the camera zooms out, then ‘tiny’, and finally ‘minute’, a pun on the film’s running time.” Fred Camper, Chicago Reader 2001

When you're blessed with the kind of sweet physiques that the boys in this wanton adventure Naked Attraction are blessed with, it's perhaps no wonder that you're only too happy to strip off at any given opportunity to attract attention. Lads like Miles Price, Ryan Sharp and the ever-popular, Jaro Stone, who are quite literally divine; and who are soon out of their to enjoy every last inch of pleasure that they can each give each other. The result is a top-notch, five-star performance that we know fans of young male flesh are just gonna love; with thick, meaty cocks giving mouths and arses the kind of uncompromising attention they all clearly love. Especially if the amount of spunk that gets shared between them is anything to go buy.

An improvisation recorded over the course of one day, starting at dawn and finishing after dusk. The film was edited in camera and shot from one camera position in the middle of one of the 112 football pitches that cover Hackney Marsh, a location chosen because of the similarities between the surrounding buildings and objects (identical blocks of flats, goalposts etc.). By cutting between precisely matched framings of similar objects, illusions of movement were produced, disrupting representational readings of the landscape. Unforeseen events occurring in the vicinity were also recorded, determining to some extent the subsequent filming. Through selection of shots and changes in cutting pace and speed of camera movement, the film fluctuates between record and abstraction.

Having made his name as a playful and humorous avant-garde artist—with a career spanning half a century and more than 60 films, video works, and installations—John Smith confesses in this autobiographical contemplation that having the most commonplace of all British names “undermines my sense of individuality and self-worth on an almost daily basis.” Search online for “John Smith” and “film” and you’ll find Captain John Smith from Disney’s Pocahontas, he sighs, not him.
Smith uses deadpan humor and his charming voice to take us on a meandering journey into his thoughts about his name, his own mortality, and his legacy as an artist. Onscreen, meanwhile, we see texts that connect these reflections with other preoccupations, such as the desperate state of the world.
Unexpected sounds and other unforeseen and associative connections bear witness to his “idiosyncratic wit and formal inventiveness”—as does the question, which appears on screen, of whether this work lives up to his reputation. A stream of self-consciousness in image and sound by an artist who is always happy when someone asks him whether he is perhaps “the John Smith.”

Comedy rock superstar, Tim Minchin, is back on the road with his biggest live show ever. This show includes brand new songs as well as those much loved Minchin classics, but this time, as you’ve never heard them before - with a 55 piece orchestra, the Sydney Symphony!