一战前，德国人祖（奥斯卡·威内尔 Oskar Werner 饰）和法国人占（亨利·赛尔 Henri Serre饰）在巴黎结识。他们意趣相投，对诗歌和小说都有强烈而共同的兴趣，甚至二人为着同一个雕塑也着迷。顺理成章地，祖与占都爱上了同一个女子：聪明貌美的凯瑟琳（让娜·莫罗 Jeanne Moreau饰）。
在这样的关系中，占选择了成全温柔单纯的祖。他们一起到乡间度假，度过了美妙时光。然而一战的爆发，却让他们失去了联系，在自己国家服役期间，他们多么担心会在战场上杀死自己的好友。而祖，从不间断地给妻子凯瑟琳写信。
战争结束，祖与占再次相遇，占觉察到祖和凯瑟琳的关系很糟糕——她对婚姻以外的感情从没停止过追逐，喜欢在各种爱情关系中享受自由。占在祖家中住下，凯瑟琳毫不掩饰对占的爱，这段三角关系平衡而快乐的维系着，旁人完全看不透。当占要离去时，凯瑟琳直率锐利的性格让事情起了变化……

在一个英语学习班上，法国姑娘奥迪尔（安娜·卡里娜 Anna Karina 饰）认识了两名男子阿瑟和弗朗茨，他们是两个着迷于美式文化的年轻人，向往着惊险的传奇故事。奥迪尔很快就被风流的阿瑟吸引，渐渐地爱上他，他们三人开始常常混在一起，坐在敞篷跑车里兜风。
奥迪尔寄宿在一所豪华大宅里，她告诉弗朗茨，这所屋子里存放着巨额现金。阿瑟和弗朗茨便策划着要入屋行窃，后来奥迪尔想要退缩，然而阿瑟他们坚持要行动，并计划好了具体时间。到了那一天，事情却进行得并不顺利，奥迪尔一而再地要求他们取消行动，但是阿瑟表示明天再来，甚至动手打了奥迪尔。第二次的行动，会带来怎么样的灾难性后果？

与戈达尔的其它作品一样，这部电影并不遵循传统的电影叙事弧：开端、冲突和结果。相反，它为观众呈现了女主角朱丽叶·詹森（玛丽那·维拉迪 Marina Vlady 饰）24小时繁杂但空虚的生活。60时代中期的法国，各种社会哲学思潮都在发生变化，朱丽叶表面上是一个中产阶级的已婚母亲,身份之后却是一个兼职妓女，独自应对沉重的生活压力。朱丽叶先把哭闹尖叫的孩子送到一个专门为应召女郎照看孩子的男人那里，然后开始她一天的生活。购物、做家务、带孩子，她平淡无奇的日常生活时常被客户的约会所打断。
片中的故事形态早已支离破碎，充斥着各种旁白、字幕、符号、毫不相关的镜头画面。虽然影片在拍摄时有脚本，但是戈达尔要求演员在表演时突破“第四道墙”，随机创作台词，与镜头外的工作人员进行互动，使得这部影片充满了实验性和批判意识。

1998年12月至1999年4月，年过七旬的阿涅斯·瓦尔达带着数码摄像机在法国的城市和乡村“闲逛”的过程中，拍摄了一些关于当今时代法国拾荒者们的影像：流浪汉和生活贫困的人为维持生计拣拾各种生活必需品，艺术家们从废铜烂铁堆里寻找创造艺术作品的原料，喜欢拾荒的人的动机是出于反对浪费的品德。除了拾荒，影片还有一条游离于主线之外的副线，表现了一些表面看来与拾荒毫不相干、其实关系密切的人和事，比如采访一位兼做心理医生的葡萄园主，与发明电影的先驱者之一马莱的后代谈论电影问题。此外，本片还是一幅影片作者的自画像，瓦尔达不时从镜头后面走到镜头前面，即使当她在镜头后面时也有意地适度表现自己，而且有些镜头是她亲自拍摄的。
这部受19世纪法国画家米勒的名画《拾穗者》启发而拍摄的纪录片，描绘了法国当今时代的拾荒者形象。在瓦尔达看来，形形色色的拾荒者大致分为三类：“有些人拾荒是因为他们被生活所迫，有些人拾荒是因为他们是艺术家，有些人拾荒是因为他们喜欢拾荒。”本片的完整片名是“拾荒者们和女拾荒者”，其中“女拾荒者”是指瓦尔达本人。影片中的所有人都在拾荒，瓦尔达本人也是拾荒，她在拣拾被人遗忘的记忆。本片的艺术成就不仅表现在瓦尔达创作了一部以第一人称叙事的实验性数码纪录片，而且表现在影片作者巧妙地把握了“唯我”与“主观”以及电影作者的“自我”与被拍摄的社会现实中的“别人”之间的细微界限。这部影片是用DV拍摄的，然后扩转成35毫米电影胶片发行，曾经在30个月的时间里获得过30个奖。(

Mannheim-Heidelberg International Filmfestival
Year Result Award Category/Recipient(s)
1969 Won Grand Prize
Dusan Hanák
A government official in Czechoslovakia mistakenly believes he has cancer. He reasons his involvement in clandestine activities during the Stalin administration have fated him to die from a dreaded disease. He searches for inner peace as he feels the guilt of his past transgressions. This film tied for the Grand Prize at the Mannheim Film Festival in 1969.
Slovak director Dusan Hanak was one of Czech cinema's brightest and best talents of the '60s and '70s, but because of censorship this was not manifest until the late '80s. Dusan made an impact on the film world with his auspicious debut 322 (1969). Though banned until 1988, when it was finally released, it earned international acclaim and the Grand Prix award at the Mannheim Film Festival. Hanak's sophomore effort, the documentary Obrazy Stareho Sveta/Image of an Old World (completed in 1972), was also not released until 1988 and neither was his 1980 film Ja Milujem, Ty Milujes/I Love You, You Love. Only Hanak's 1976 film Ruzove Sny/Rose-Tinted Dreams passed muster with censors and saw a timely release.

影片分为两个不同的部分。第一部分由米尔恰·韦罗尤执导，描述了二十世纪初罗马尼亚一个寡妇的悲惨生活。第二部分由丹·皮察执导，讲的是一个婚礼上的新娘。
米尔恰·韦罗尤(1941年出生)和丹·皮察(1938年出生)是罗马尼亚最具独创性的电影制作人，他们一起制作了两部杰出的电影：《石婚》(1972)和《金魂》(1974)。毫无疑问，两部电影都是罗马尼亚有史以来最好的电影之一，在全世界受到了巨大的好评，被纽约现代艺术博物馆收藏。
《石婚》根据罗马尼亚作家Ion Agarbiceanu的小说改编，描写了上世纪初特兰西瓦尼亚乡村的生活状况。这些故事充满了一种深深的悲剧性的震撼，一种似乎无处不在的宿命感。所有这些都在令人难忘的摄影中被表达出来。毫不夸张地说，每一个镜头都是一件艺术品。
在第一部分中，女演员 Leopoldina Balanuta 的每一个动作、每一个眼神都充满了感性和智慧，她知道如何暗示多年的生活、希望和绝望的积累、固执的爱以及在沉默的斗篷下压抑的巨大痛苦。这些有力的镜头语言，只有第二部分的 Mircea Diaconu (逃兵) 眼中悲剧性的天真才能匹配。
两位导演中，米尔恰·韦罗尤喜欢充满沉思的冰冷凝结的风格，而丹·皮察在他的部分，则把它变成了一个充满活力的故事，有许多讽刺的时刻，富有表现力的人物，并在最后有一个痛苦的悲剧转折。
无论如何，《石婚》是一部值得一遍又一遍地观看的电影。每一遍，它似乎都增长了新的维度。

Frunze Dovlatyan (1927 - 1997) is one of the leading Armenian directors, he has started as actor in Armenian provincial theatres since 1941 and then Sundukyan Drama Theatre of Yerevan where he was awarded Stalin Premium (major award of that time) for the role of Hrair in the play "These Stars are Ours". After graduating the Directing Department of VGIK (master class of Sergei Gerasimov, he directed movies at Gorky Film Studio then at Mosfilm Studio. Since 1964 he was working at Haifilm Studio. His movie Barev, yes em! (1966) became a milestone and turning point in the history of the Armenian cinema.
The achievements of Frunze Dovlatyan and Henrik Malyan are outstanding during this period. "Hello, It is Me" and "Triangle" are two films shot by these directors that play an important role in the history of Armenian cinema. A contemporary theme underlies these films and the author's vision drastically turns towards the deep understanding of the secret of the contemporary personality, the "inner world" of the man and the problems of his presence in this world. "Hello, It is Me" is a film of wide scope about an Armenian physicist and the trials his generation experiences, the feelings of responsibility so characteristic of him, and how he cannot forget the burdens of his past, and about love.

The film was banned in Poland for seven years due to realistic depiction of the life in the suburbs of Lódz as well as portraying in it local authorities, who rush the lead character into unhappy marriage.
Actress Malgorzata Potocka was set to play the role of Halina, but she then left Poland for a while and was eventually replaced by Malgorzata Pritulak.

斯洛伐克新浪潮经典，这是一部仿真纪录片。
Otakar Krivanek's 1969 film Our Daily Day (Den nas kazdodenny) was a reminder that Uher's lesson was not forgotten by the Slovak film world. Krivanek (1931-1997) started with the same elements as Uher: non-actors, generational conflict, a documentary camera style—but his outcome was a much more critical view of reality. His "understatement" is sarcastic or satirical, very different from Uher's "lyrical understatement." Scenes from the life of a so-called "average" Slovak family, in which everything revolves around the graduating daughter, are reconstructed in the real surroundings of a real family; Krivanek's feature film is but a step away from being a documentary. The relationship between The Sun in a Net and Our Daily Day is similar to the difference between the Czech films Black Peter (Cerny Petr, dir. Milos Forman, 1963) and Ecce Homo Homolka (original Latin title, dir. Jaroslav Papousek, 1969).

A story of a family that after WWII moved to the south of Slovakia and acquired a prosperous butcher business left behind by a Hungarian emigrant. From the previous owner, the family also inherited a self-assured, greedy assistant who does not like to observe any firm moral principles. He assists the family in gaining wealth but in the long run, he causes the family's moral dissolution. In his most successful feature film, directorZoro Zahon combined a complex drama with excellent acting performances, especially that of Hungarian actor Gabor Koncz in the lead role.
Reican (Elo Romancik) the local butcher is nobly trying to make a living for himself and his family after World War II in a small town in southern Slovakia. His macho assistant Volent (Gabor Konz) has his mind set on advancing in the world and he starts to do so by first seducing the butcher's wife (Ildiko Pecsi) and eventually, also her daughter (Marta Sladeckova). The butcher himself is not motivated by consumerism, and he resists all the material temptations that are snatched up by the local up-and-coming elite. Unfortunately, his wife does not share his more spartan, non-materialistic view of life and she and the assistant Volent hatch some schemes to make a lot of money fast -- and they succeed. By now, the butcher is less and less happy with his life at home and these new riches leave him cold -- sooner or later, he will have to decide on a course of action that will set things right for him since he cannot seem to change over to a more avaricious life style.

A joint work of three debuting directors. It is a film about former rock musicians, members of a banned rock band. The friends were forced to replace their ideals by settled family lives and ordinary jobs. When their former lead singer has to go to hospital for therapy, they get an unexpected opportunity to play together again and recall the old times. The day when all needs to be arranged for the performance is full of small lies, compromises, and morally doubtful decisions.

如果我有一支枪，中文剧情：这是关于一个男孩在战争时期梦想当英雄的悲喜剧故事，他们每天都面临着战争和乡村生活的严峻事件。 此片于布拉格之春后4年上映，或多或少折射出捷克人和斯洛伐克人一种无奈的民族情绪——斯洛伐克人的小提琴，德国人来了，演奏莉莉马莲，俄国人来了，演奏喀秋莎。

An amiable picture about entering adulthood, great dreams, and the first - forbidden - love of a white postman, Jakub, and a pretty Gypsy girl, Jolanka. This is a poetic story, a mosaic of the playful world springing from the wild imagination of the village postman and its clash with the pragmatic mundane reality that finally beats the rosy dream's of the young protagonists. Director Dusan Hanak and screenwriter Dusan Dusek's most popular film has been cherished by critics as well as wide audiences at home arid abroad.

A tale about outlaws inspired by traditional folk humour. Pacho is no ordinary outlaw. He detests injustice and feudal oppression. As he lacks physical strength, he copes with each troublesome situation with the help of his wit. Pacho was created by famous Slovak actor Jozef Kroner. Film was directed by Martin Tapak in 1975.

一名颇有抱负的年轻人马特斯来到一个矿业村庄，认识了当地煤矿负责人离异的女儿海伦，相爱并结婚，虽然其父大力反对，但和其子伊万倒也相处融洽，为营造一个温馨家庭，马特斯不惜以偷为代价，梦想造一座绿树环绕的房子，事情败露后，马特斯也不幸坠崖身亡。音乐和画面十分优美，情节也不甚复杂，描述了战后斯洛伐克普通人的生活梦想，交杂了欢乐和惆怅

Majka“话匣子”是个女孩进入青春期。她出生与未成年人残疾。而她的母亲一直骂她，她走路的样子，她的同学嘲笑她，称她为“鸭”。沿着一个无辜的第一恋情和一个秘密的友谊，她收到她的父母和很多来自她的同学恶意知之甚少。 Majka找到庇护与她的祖母和她自己的幻想世界。导演彼得·索兰取得了12年岁女生的敏感肖像。雄辩的电影语言会谈，儿童和成人观众的一致好评。

1961年嘎纳电影节金棕榈提名，斯洛伐克新浪潮的先声。

是捷克新浪潮中最激进的一部影片，因为结尾处一群学生冲破警察的管制冲向夜色里的街头暴动场景而被迫在当年未能完成，直到1990年解禁后才由导演Hynek Bocan继续剪辑完成了影片。
A young teacher is sent to a rural re-
form school, where he is faced with
brutality of the inmates. He ends up
paying with his life for his attempts to
reform the abnormal conditions he
finds there. The story, based on the novel
of the same name by Karel Misafi, was
banned during the final editing of the
film and was only finished and releas-
ed after the Velvet Revolution.
The director Hynek Boãan (b. 1938)
avoided persecution during “norma-
lization” by shooting harmless come-
dies and fairy tales. After the Velvet
Revolution he became one of the most
productive directors of television se-
ries. He was responsible for the conti-
nuation of the popular television se-
ries “Nemocnice na kraji mûsta po
dvaceti letech” [Hospital on the Edge
of Town After 20 Years] dealing with
the fates of doctors and their patients.
At the present, he his making a series
about the lives of famous ice hockey
players on the decline.

与Stefan Uher和Elo Havatta一样，Eduard Grecner也是60年代斯洛伐克新浪潮电影的缔造者之一。他的三部影片《一周七天》（1964）《尼绒月亮》（1965）和这部《徳拉克的回归》都是斯洛伐克新浪潮电影的代表作。这部叙事方法独特带有明显意识流风格的黑白影片甚至间接影响到了后来法国导演格里耶在捷克拍摄的两部影片《说谎的人》和《Eden and After》。

纪录片，用高更的画作连缀而成的简要生平。