三个序列在通过本斯特劳布短膜连接在一起;第一序列是从汽车妓女做着自己对德国的夜间街道贸易的长期跟踪拍摄;第二个是分阶段的发挥，由斯特劳布削减到10分钟，并在一个单一的取拍摄;最终序列包括詹姆斯和莉莉丝的婚姻，和莉莉丝的后续的执行她的皮条客，由法斯宾德扮演。

里德自杀未遂，两名男子前来造访，请他参加一个时空旅行的实验，看看他能否捕捉过去的某一刻。他跟一只已经被实验过的老鼠一起从一个无人的郊区送到某试验室，穿越时间，但迷失了方向。科学家们正为这个丢失的试验品发愁，关于他从前生活的点点滴滴却不断显现，其中一个似乎暗示他曾杀死他的女友。一切线索都指向他自杀的一瞬。而在现实中，里德的尸体出现在实验室的地下。

1989 film by Michael Roemer

"This neat, finely tuned, hypersensitive film examines the outside and inside of a banal prefab classroom, stares at an asymmetrical space so undistinguished that it's hard to believe the whole movie is confined to it, and has this neck-jerking camera gimmick that hits a wooden stop arm at each end of its swing. Basically it's a perpetual motion film that ingeniously builds a sculptural effect by insisting on time-motion to the point where the camera's swinging arcs and white wall field assume the hardness, the dimensions of a concrete beam. "In such a hard, drilling work, the wooden clap sounds are a terrific invention, and, as much as any single element, create the sculpture. Seeming to thrust the image outward off the screen, these clap effects are timed like a metronome, sometimes occurring with torrential frequency." - Manny Farber, Artforum, 1970

有些父母，故意让小孩制造车祸，来敲诈驾驶人金钱。这是一度轰动日本的新闻事件。大岛渚将这新闻事件搬上银幕，进一步探讨新闻幕后故事。少年的父亲是战争中受伤的残疾退伍军人，继母曾当过吧女，这个家庭是日本战后社会的缩影。在犯罪现场，父亲制定出方案，站在远方观望，母亲和少年在街头漫步，寻找目标。

先是母亲为儿子作出示范，既而父亲鼓励儿子从事“工作”。父亲还遗存着军国主义思想的父亲，不断榨取少年和继母用血汗赚来的钱；柔顺的继母尽管袒护少年，但仍然无法反抗父亲和讹诈谋生的想法；早熟的儿子明白家庭的处境和自己的责任，尽力作好自己的“工作”。他们到处流浪，在北海道，一个驾车少女为躲避他们，撞死在路边，少年产生了自杀的念头。他们回到大阪，全家被逮捕。少年开始决不承认自己犯了罪，但最后还是为北海道少女流下了悔恨的眼泪。

保险业高管查尔斯怀疑他的妻子海琳在玩游戏，所以他让一名私家侦探找到了他妻子的情人、作家维克多·佩加拉。

《蓝色电影》是第一部描述真实性爱却被大规模院线放映的成人情色电影，是一部在色情片黄金年代产生深远影响的作品，其帮助开创的色情风潮使得 “色情”在现代美国文化中的被名人公开讨论，也被艺术评论界严肃对待。影片展示了男女主角某天下午在曼哈顿公寓内的幽会。他们躺在床上聊着彼此的性经历，也讨论着包括越南战争在内的各种社会问题，最终以晚餐后浴室里的嬉戏惊慌结尾。影片假装将性爱作为政治抗议的终极行为而进行戏剧化表达，虽包含有性交场景，但影片本身几乎是对色情片的解构，聚焦于两位主演之间的亲热关系，相当随意地展示着戏中戏的“高潮”。性爱镜头成了角色关系的自然部分，相关场景的展现也没有使用任何色情电影中典型的特写、剪辑与强烈聚焦。如今再回首，影片更算是关于六十年代生活的纪录片。

一代又一代，众生繁衍，从不停歇，相同的悲喜剧周而复始上演。粗暴蛮横的父亲（Robert Chadwick 饰）和堕落悲戚的母亲（Virginia Maitland 饰），有着人的身形，却如动物一般浪荡度日，更何谈以慈悲情怀富裕儿女。面色苍白的儿子（Richard White 饰），无所依祜，在暴虐父亲的淫威之下，阁楼成为他最后的庇护场所。可即便如此，无情的暴力仍随时破门而入，暴风骤雨一般狂扫而来。
仿佛受到命运的指引，穿过入夜的无尽黑暗，男孩找到神秘的种子。他找来泥土，细心呵护破土而出的奇怪植物。直到某天，果实成熟，慈祥可亲的祖母（Dorothy McGinnis 饰）为男孩带来了期盼已久的关爱，但这是否就是幸福的到来？

An underground revolutionary group struggles against internal strife to stage urban guerilla attacks against a fictionalized fascist regime in the United States. Interspersed throughout the narrative are rhetorical sequences that explain the philosophy of radical action and restrain the melodrama inherent in the thriller genre.

本片是根据法斯宾德同名话剧改编。“卡策马赫尔”是德国当地人对外籍劳工的蔑称，暗示外籍工人的性行为就象一只发情的雄猫一样，有人甚至因此而将该片译为“阳具艺术家”。“局外人不仅只是必需忍受孤寂的侵蚀，同时也不得不去对抗来自群体的偏见和敌意，这是法斯宾德早期作品中的重要主题。”同时，影片移植于“反戏剧剧团”的带有先锋色彩的形式感也趋于成熟。世界著名电影刊物《画面与音响》的记者评论到：“看过《卡策马赫尔》之后可以断言，法斯宾德是一个真正的天才，他在戈达尔与施特劳布所做出的开创性业绩的基础上，正开拓着新的天地。”

威廉 克雷导演把摄影机瞄准了政治界，《自由先生》这部作品看似搞笑荒唐，讽刺了越南战争时期美国的帝国主义外交政策。
美国超人自由先生来到法国，目的是解救法国，目的是不受他国共产主意的侵略，尽管他的星条力量得到胜利，法国人却不怎么领情，自由先生愤怒起来，于是他决定报复法国，把他能摧毁的一切都毁灭掉...

Passing through a town, a farm boy aspiring to be a bounty hunter rescues a woman who has been tricked into working in its brothel and the two travel towards his father's ranch.

86 min
肯•贾科布（Ken Jacob）的《汤姆，风笛手之子》（Tom, Tom the Piper's Son, 1969），采用重复拍摄的手法，将一部1905年美国幕镜拜奥公司的影片，减化为冻结的姿态和明暗光线的残余。

In the French countryside it's the day for peasants to kill a big fat pig. The slaughter goes on for a great part of the day as they work to store 140kg worth of meat.

Four friends from Calcutta who have very different personalities make a holiday excursion into the country, to a tiny village in the state of Bihar where they set themselves up in a bungalow. A series of minor events, all connected to their respective reactions to their new environment, reveals their characters more deeply.

Made for television, this film consists of four parts: Part One, "The Last Christmas Dinner," is about the relationship between an old man and an old woman, both homeless. Part Two, "The Electric Floor Polisher," is an opera-like story of a woman who is obsessed with polishing her floors. Part Three is a musical interlude featuring Jeanne Moreau singing "When Love Dies." Part Four, "The Virtue of Tolerance," concerns an old man, his young wife, and how they come to terms when she has an affair with a man her own age.

In Section II we see a series of discrete sequences showing the children, now somewhat older, in different types of play. They manipulate tiny objects, doll furniture and miniature figures, dress up in costume, play outdoors, watch TV. We see them eating, sleeping, crying . . . A repeated image in this section, used both alone and in superimposition, is a moving, glittery golden dazzle which resembles tinselly pinpoints of light. There are golden dazzle images that look more like small bubbles than pinpoints. These glitter images, along with the occasional solid color frames, are recurrent threads connecting the separate sequences of this section. (Artforum)

Section Ill is the most abstract section of the four, and the only one which does not contain old photographic material. The means used in previous sections to achieve abstraction and transformation of the realistic image are here employed in the extreme so that texture, color, and shape predominate. We can recognize some realistic images, such as shots of the family walking in the woods, or the children reading comics and riding in a car, but the overall impression given by this section is one of abstraction. (Artforum)

Section IV is the longest of the four parts and the one in which the photographic material from the past plays the most prominent role. We see more of Brakhage and his wife than in previous sections, both in everyday activities and in the grip of intense emotion; a long sequence shows Jane weeping intercut with stills from her past; another shows Brakhage in anger. The children are seen in varying moods: fighting, crying, delighting in water, absorbed by the grass or their own bodies. The most banal surroundings, such as the bathroom, are totally transformed before our eyes into nearly abstract compositions of form and color, and a mundane activity like dishwashing becomes the occasion for an exploration of pure color. (Artforum)

一篇大气的文章，作为1970年杰斯-佛朗哥执导的《德古拉伯爵》的另一个版本；在虚构和现实之间的幽灵般的叙述。