独立导演在网上发了招女演员的帖子，无报酬且接受床戏，还要和导演住在一起。
一个腿瘸的妓女想要参与……

‘My name is Oona,’ says the little girl at the beginning of the film and she will repeat it in a loop throughout the movie. ‘Oona’ means: the unique one, the fairy queen. She’s the daughter of filmmaker Gunvor Nelson, who observes her at play in My Name is Oona while reflecting to a certain extent on her own childhood. We experience Oona in her social surroundings, with her friends, fighting, riding horses. Using a wide array of recording, developing and editing techniques, Nelson reduces the action to the essential, lending the film an expressionist touch. As such, it is never about depicting a realistic representation of a syrupy childhood, but instead about the abstraction of childhood itself. Oona rattles off the days of the week aloud. A male voice interrupts her list, frustrating Oona’s system and her reasoning. Oona only lets herself be side-tracked for a second, then she’s back at it again. Steve Reich, who produced the soundtrack for the film, loops the signals, creating an acoustic counterpart to the concrete situations. The chirping of a bird can be heard, a woman singing softly, perhaps a lullaby, familiar. Oona keeps going. Maike Mia Höhne‘I think that her world and that of my childhood are mixed in the film. As a child you feel pretty secure in your own world, but the rest is mysterious and scary – maybe monster and trolls are waiting there outside, even if you’ve never seen them before.’

失业不久的特拉维斯（阿德里安·布洛迪 Adrien Brody 饰）在报纸上看到一则招工启事，酬劳为两周14000美元。为此所吸引，特拉维斯欣然前往。原来这是某机构发起的实验，研究者宣称实验将在州立监狱进行，包括特拉维斯在内的26名参与者被分成狱警和囚 犯，狱警必须按照严格的规定来管理囚犯，不服从命令者将受到惩罚。原本只以为是一场有钱可拿的角色扮演游戏，但随着实验的进行，权力的意志渐渐得到体现，所有的人都似乎迷失在角色之中……
本片根据2001年的德国影片《Das Experiment》改编，故事取材自马利奥·乔丹努（Mario Giordano）的小说《黑盒子》。

《海公子》，《聊斋志异》里卷二第十篇故事，是一个书生在荒岛与蛇精和幻化成蛇精的娼妓的诡异故事。耿雪花了一年时间，用陶瓷艺术制作出了电影《海公子》。而这部电影的价值不在于用陶瓷作品拍摄了一个古典的志怪故事，而在于耿雪将陶瓷作为一种语言如何在《海公子》中发挥了这种语言的特质。

Andy Warhol´s Screen Tests were filmed from early 1964 to November 1966. Factory visitors who had potential "star" quality would be seated in front of a tripod mounted camera, asked to be as still as possible, and told not to blink while the camera was running. Warhol manipulated light and shadow in increasingly inventive ways to capture the appearance, style, personality, and mood of both famous and lesser-known visitors to his studio, the Factory. His subjects included Dennis Hopper, Gerard Malanga, Edie Sedgwick, Susan Sontag, and Salvador Dalí. Although each film was shot at standard sound speed, or twenty-four frames per second, Warhol specified that prints be projected at a slower speed of sixteen frames per second, a rate used in the projection of silent films. The result is an unusual fluidity of pace, a rhythm gently at odds with the starkness of the lighting and the boldness of the close-ups of face and hair.
In total more than 500 Screen Tests were made. Helmut was the seventh.

0年代美国先锋派的领军人物和代言人玛雅·德伦用自己的天赋和努力催生出美国前卫电影运动,她是这场运动的旗手,既是电影制作者、发行者、理论家,又是演讲者和宣传者。玛雅·德伦在创作和理论上的创举影响很多美国实验电影人。
Experimental filmmaker Maya Deren created some of the mosthypnotic and beautiful avantgarde films ever made.Several of these groundbreaking shorts reveal her fascination with movement and ritual:"A Study in Choreography for the Camera"features dancer Talley Beatty leaping through vast expanses of space,thanks to the magic of editing.Both"At Land"and "Ritual in Transfigured Time"use choreograhhic techniques to explore the everyday rituals we go through in our encounters with other human beings."Meditation on Violence"focuses on the elegant motions of Chinese boxing.while "The Very Eye of Night"transforms a stage ballet by Antony Tudor into pure cinematic f bb antasy.But Deren s true masterpiece is "Meshes of The Afternoon",a narratively complex,psychological study of a woman--played by te director herself....
收录目录：
1、午后的迷惘
2、在陆地上
3、为摄影机而做的编舞研究
4、变形时间的仪式
5、暴力的冥想
6、夜之眼

改编自伍尔芙最受争议的女性意识流小说《海浪》。
A film not for everyone. The film is a sort of decontructivistic art movie.
All texts are voice-overs. Poetic but also alienating.
The actors are not only acting, but also rehearsing, trying on dresses, traveling etc. There was some marxistic-leninistic theorising responsible for that. I doubt if even the director still nows the theory,but it dictated that it should be visible that the actors were acting,so it is their reality that is shown, not a make believe reality.
The music is by an important classical Dutch composer Louis Andriessen. ( Also very en vogue left-wing at that time). It's quit remarkable.
The film was brought out again to celebrate the 25th. birthday of the studio nieuwe gronden. An independent small production company of artistic great importance.
The film is not digitally remasterd and restaurated, but put to DVD straight from the celluloid. And I must say, I was delighted to see a movie with celuloid cracks and sound scratches, like a movie should be. I didn't know I'd mis that, but now I've seen this film: I do!
GOLVEN is based on THE WAVES (1931) by Virgina Woolf. There are six main characters in the film who are continually trying to recapture the sense of harmony which they knew as childeren. Throug their thoughts the intensity of childhood, the optimism of youth an the desilllusion of later years are portrayed. Their perceptions and feelings move back and forth through the narrative live waves.
The presentation of the thoughts of the six characters which cover their development from child to adult is a challenge to confront one's own life.
The central event in the film is the meeting of Bernard, Neville, Rhoda, Jinny, Susan and Louis at a restaurant in London in 1920. They meet for dinner on the eve of Percival's departure for India. In a sense Percival acts as a mirror in which each character sees his own ideal image. He himself remains a mysterious figure. Immediately after this dinner, which evokes harmony and happiness on various levels, they learn that Percival has been killed in a riding accident. His death marks the beginning of the decline of the group and of its individual members.
This is not the film of a book in the normal sense. Its images are inspired by the form of the novel, and it takes us on a voyage of discovery. It moves from elements of the present towards the historical fiction, which is re-experieced in a way which is only possible in film. After the death of Percival it becomes clear that the carefully constructed fiction cannot survive and it collapses. The illusion that life and reality are continuing stories in which events follow each other logically is lost.

歐黑莉亞──墨爾本中，一個聲音（莒哈絲自己的）讀著一個十八歲猶太女孩寫的、沒有特定收件者的信... 畫面純然地視覺化（purement visuelle），不直接提供可資詮釋的明顯意義。信件內容隱約提及猶太人在二次世界大戰被屠殺，流亡海外的記憶...
莒哈絲以電影書寫開創了另一種敘事的手法：破碎、拒絕完整，以聲音來片段呈現，而中性扁平的畫面則改變了觀眾依賴畫面來詮釋作品的習性。莒哈絲的電影訴諸於聽覺，藉由破壞電影畫面可能呈現的因襲意義，來開啟無限的閱讀。

贝纳尔马蒂纳电影节特别奖，柏林电影节特别放映。
生疮就要治理，但有时因为治理而令人生疮。此片不断出现因不同的捆绑而令身体遭到变形及扭曲，呈现出绝妙的变形因果论。

里尔电影节国际评论家奖。
将法国作家Lautreamont的《马尔德罗尔之歌》解体的实验之作，虫类在肉身挪动，倒转播出的乐章，创造出另一生物的特异官感，挑战常人的极限。

1982 film directed by Toshio Matsumoto

在这部碧娜·鲍许执导的第一部电影中，没有任何清楚的故事线，她以和‘乌帕塔舞蹈剧场’共同发展出的手法─以季节转换的布景作为影像的构图，以拼贴场景的手法反映特定情绪，并引发不同的关联性。
碧娜鲍许的作品向来言述欲望与以各种面貌出现的现实之间的宽广深渊，其中又以复杂纠缠的男女关系为主题。对爱与完美的渴望让我们汲汲于追求，却往往不可得，所以我们转而以想像营造心中的爱情剧场。
碧娜鲍许扬弃好莱坞式的爱情公式，而以不完满、破碎、混乱、干扰的结构作为呈现与深入检视爱情的方式。关于碧娜鲍许与舞团表演的纪录影片很多，如《穆勒咖啡馆》、《碧娜·鲍许现代舞》等等，由碧娜·鲍许亲自导演的影片却是难得亲眼所见。

这部电影被分成5个部分在5个相邻的空间展映。通过没有明确的戏剧性故事， 电影里有对白和字幕、音乐和围绕的声音。暗指的传统的竹林七贤的主题，大部分都明显的在第一部中（29分22秒）。在电影的开始，7个人物出场是裸体的。他们穿着他们自己的职业装并且开始在梦境般的森林里游荡。第二部是（46分钟，15秒）发生在喧闹的上海，人物们大部分的表演都是在一个公寓里，吃、喝，讨论欲望、性以及生命与死亡。第三部分（53分钟）回到了乡村。开始是一个让人震惊的杀牛的画面。这头牛在这部电影里作为扮演了一个至关重要的角色，不仅是作为被牺牲的动物而且还是电影中七个人视乎一直在寻找的，和土地相关的一个象征。在一个孤立的小岛上，是第四部作品（70分钟）为七贤的2个化身构筑了一系列随意的场景：作为农村里努力工作的渔夫和在一个新的地方闲逛这的一群旅行者。在第五部中（29分钟26秒）七个知识份子回到了上海，开始平庸的工作。他们在大厦中正出席一个宴会，而这个场景是呈现的是越来越超现实的氛围，这个荒谬的感觉似乎在对城市生活的本质致以歉意。
原先的电影是35毫米胶片拍摄的，这个作品已经被转成video，并首次在2007的威尼斯双年展被完整的展出。这个展览也是首次由美国美术馆5部一起展出。一本由Melissa Chiu指导的关于这个展览，包括和艺术家采访录的书会在2008年的上海出版。同样前言是探讨传统的竹林七贤和他们在东方亚洲艺术的突出。

故事设定于一个架空的世界，男主人公（Brian Paulette 饰）是一名工程师，通过高科技手段进入了植物人妻子（Erin McGrane 饰）的梦境。丈夫想在妻子的梦境中为她建造一所她一直梦寐以求的城镇，在梦中他拥有上帝造物一般的双手，但是他只有妻子开始做梦前的60分钟的时间，于是他开始了争分夺秒的建造。当一切都建造完短暂逗留之后，妻子在梦中实现了愿望，丈夫依依不舍的回到了现实。
导演花了2年时间制作了这个9分钟的短片，据说拍摄只用了1天，另外600多天全部投入在后期制作上。

肯尼斯•安格（Kenneth Anger）的《烟火》（Fireworks，1947），同样精心设计出一个呼应《诗人之血》的梦境结构。描述一名年轻人被一个水手引诱，然后遭到一群水手殴伤，当他醒来时他的爱人伴随在他身旁，同时火焰正将梦境的照片烧毁殆尽。

1972 film by Kenneth Anger