故事发生在葡萄牙的海边，一个电影剧组正在这里翻拍罗杰·柯曼的名作《世界末日》，新版本的电影在拍摄过程中却遇到了各种困难。导演不知道为何没有了资金来源，电影面临被迫停拍的命运。导演试图联系到在洛衫机的制片人，以便可以对所有人员有一个交代，但是不知为何却找不到人。他费劲心思希望可以改变不得不停拍的命运，然而，世事总不如人所料，他感到十分无奈。该片情节很简单，但是却耐人寻味，整个电影都沉迷在一种神秘的意蕴中。

Narrator: James Mason
[ 3 Episodes ] :
+ Episode 1: My Happiest Years
+ Episode 2: The Great Director
+ Episode 3: Hidden Treasures

影片完全封闭在一栋老房子内部，年老待毙的母亲、垂涎她的金钱的不成材的儿子、照顾她的女护士、女护士的情人，和一位教师，如同一场充满家庭冲突的五人轮舞。

1984 film by Luc Moullet

九十年代，东北小城，年轻工人关键（庹宗华 饰）到公安局检举自己母亲是杀人犯，揭开一段尘封往事。天寒地冻的东北小村庄，关键家里母亲（斯琴高娃 饰）做豆腐卖豆腐，父亲（马精武 饰）在当地小学做校长，表面威严正义，在家却对妻子儿子粗鲁打骂。任劳任怨忍气吞声的母亲，在一场意外中认识了林场工人刘大贵（巍子 饰），大贵和母亲慢慢熟悉，让母亲体会到从父亲那里无法得到的男人关怀，二人成了情人。纸包不住火，二人关系街谈巷议，关校长察觉后对母亲抱以变本加厉毒打，令母亲产生杀心，她在丈夫食物中投毒，被儿子关键看到。暴躁的父亲死了，关键某种程度上也松了一口气，但母亲投毒的画面总在心中郁结，令他无法正视她的改嫁，经过近十年的思想斗争，他终于做出状告母亲的决定……

Totems of destruction and desire. An operation on the combustible urges in a junk black mass. A swiftly-sliced nightmare of history and erotic autobiography.

二次大战期间，两位丈夫同样被徵召上战场而投身工厂的女人成了好友：凯（歌蒂韩）是个完美的家庭主妇，她的隔壁邻居海柔（克莉丝汀拉蒂）则穿着入时的美丽妇人。 这两个女人同时在一家制造飞机零件的工厂上下午3点到晚上11点的小夜班。在同工厂上班的同事洛奇（寇特罗素）对凯一见锺情，并立刻对她展开追求；由于深闺难耐，凯终于同意让洛奇进入她的家门--以及她的床。 不料，就在凯、洛奇及海柔三人为庆祝洛奇生日而举办的派对上，凯的老公杰克竟意外地返回家门！面对情人和久别的丈夫，凯会决定挽救她的婚姻？还是和洛奇之间的情份？

This three part French TV serial for children (alternate versions exist as a feature, Manoel's Destinies, and a 4 part Portuguese TV serial, Adventure in Madeira) is the favourite of many devotees of Raúl Ruiz. This is because it ties the enchantment and mystery of Lewis Carroll, Carlo Collodi and the Brothers Grimm to the filmmaker's experiments with narrative strategies and what he calls the pentaludic model of storytelling (where characters are thrown dice-like into combinations and situations governed by the play of Chance and Destiny).
But this film for children is among his most complex works, hard to grasp in its totality. Often it can seem an arbitrary collection of free-associational images and words, bordering on nonsense. But attentive viewers will have the strong sense that there is method behind this near-madness. Otherwise, it could never produce the intense emotions it so clearly offers. Ruiz's obsessions from film to film bind the fragments together – within a single work and across projects – and the emotion comes from the totally unexpected forking taken within a well-worn territorial map.
Part One presents us with three possible worlds. In each world, seven year-old Manoel has a different response to an entreaty from the outside world. Fittingly, in this film in which nothing coincides, the three parts of the story do not coincide with the three-episode structure (the trinity-form recurs frequently in Ruiz). In this case, past, present and future – the unholy trinity or Time en soi – is the film's very protagonist, variously called 'long ago' (Part One), 'now' (Part Two), and 'future' (Part Three). At the outset, this gives the story an apparent order before digressions take it over.
Part Two (the status of which is at first confusing since it begins after the three mini-narratives of the first Part and before the end of Episode One) is entitled 'The Picnic of Dreams'. Whilst vaguely 'keeping to the storyline', it veers off in many different directions, where the thematic coupling ordinary/special replaces the familiar/unknown dualism of Part One. (Each Part is guided by a thematic 'dominant', a pair of notions that tend to exchange their meanings as it progresses.)
Part Three (beginning in Episode Two), entitled 'The Little Chess-Champion', hands the (until now) off-screen voice-over narration to Manoel himself. He promises to tell his own story, but adds that it's 'a story that I made up in my distant childhood and that happens in the future'. The tone is less Baroque, more Gothic, as Ruiz explores the 'wonders of the night'. The filmmaker's obsession in this section concerns perception and the deciphering of secret signs and codes.

片长：125 min

One of the most remarkable and innovative documentaries ever made, this film follows the famous true story of two English women who as babies got switched in the hospital and 20 years later discovered that they'd been raised by the wrong sets of parents. Romand enlists all the surviving family members in her haunting and bizarre investigation, which involves not only a recounting but a reenactment of all the significant events in the two daughters' emotional histories.

23 岁的彼得-福斯特是家里的独生子，他经常听到父母争吵。 因为彼得整天无所事事，他们一家去了一家诊所，由治疗师给他们录像。 彼得看完自己的录像带后，又看了一个问题亚美尼亚家庭的录像带，这个家庭在来到加拿大后把唯一的儿子送给别人收养。 彼得决定去拜访这家人，并假扮成他们的儿子贝德罗斯-德里扬。 德里安一家张开双臂欢迎他，彼得试图修补乔治-德里安和女儿阿扎之间糟糕的关系。

简·坎皮恩生于新西兰，却是在澳洲电影电视广播学院念电影，1982至1984这段期间，她所拍的四部短片就已展现出惊人的透视观点与影像张力，包括刻画青少女纯真梦想的【披头狂少女】、性别剥削的心理剧点影《性骚扰》、实验性强烈的《私语時刻》、以及在戛纳获得最佳短片金棕榈奖的《橘皮内战》。从这些作品，我们不仅看到澳洲短片传统的优异，更看到一颗敏感的电影心灵如何萌芽。

这部电影将写实与科幻合而为一。一种传染性性疾病STBO正在国内蔓延，它通过没有感情的性活动传播。
小偷马克和汉斯欠一个美国女人一笔钱，她限他们两个星期还。他们打算去偷一种专治类似艾滋病的药剂，然后高价转卖。于是他们雇来了亚力克斯，一个正在跟16岁女友丽莎分手的青年。但在计划实施之前，他迷恋上了马克的情妇安娜。丽莎却并没有死心，在他们动手那天她来到了巴黎，使得事情更加复杂化……
当然，这是个悲剧。Love that burns fast but lasts forever.
这是导演Leos Carax继《男孩遇见女孩》后的第二部作品，继续他对青春和孤独等题材的关注，也就是在此片的五年之后诞生了影史经典之作——《新桥恋人》。

1987年恺撒奖最佳女主角和最佳男配角获得者。
讲述了两个旧友重逢后，已经是著名乐手的布朗爱上了朋友之妻……皮埃尔是小提琴演奏者，邀请他的朋友才华横溢的马尔歇到家里吃饭，并把妻子罗曼尼介绍给他认识。罗曼尼和马尔歇却因此一见钟情。
影片一改雷奈过往的跳跃风格，改走舞台剧的戏剧形式，故事由头到尾平铺直叙，仅仅以演员的功力和话剧式的对白取胜，简直是部话剧。雷奈的御用女星艾慈玛深厚的舞台经验使她脱颖而出，赢得凯撒奖的最佳女主角。

Documentary about the lives of three Mexican families living in the U.S. without government paperwork.

It takes as its starting point two plays by the Spanish Golden Age dramatist
Calderón de la Barca, which Ruiz had directed on the stage; both of which were
called Life is a Dream and tell the same story but in different ways. The original
plays concern the son of the King of Poland, who has been imprisoned by his
father because it is predicted that he will depose him. One day the king orders
the sleeping son to be brought to the palace and given to believe that he is king
for a day, causing his son to be confused about what is real and what is a dream.
In Ruiz’s film, a literature teacher has learned by heart the names of 15,000
militants opposed to the military junta in Chile by memorising Calderón’s play and
using it as a mnemonic device. When he is captured, he has to forget everything
so as not to betray his comrades, but ten years later he tries to recapture his
memory by visiting a cinema showing a film based on Life is a Dream. Ruiz uses
this setting to explore a complex set of relations dealing with memory and the
layering of reality. The film is also about the experience of cinema, as the virtuality
of the film is confounded with the materiality of the cinema auditorium,
which becomes a place in which the story is enacted. For instance, characters on
a train, whom we at first take to be part of the film the teacher is watching, are
revealed to be on a model train set that runs around the cinema, in which other
strange things occur: birds fly around the auditorium and a Western shoot-out
takes place across the seats.

Episode one: The Happy child :
The fourth child of a poor couple, whom live in Halabiabad (a dispossessed place in Tehran), is born. In the maternity they tell them that if the child does not have good nutrition he would become paralyzed as well. The couple, who have 3 retarded and handicapped children- as a result of family marriage-know that because of poverty they cannot take care of their newborn child and they are worried that he would encounter the same fate as the other three children. They decide to make their child prosperous and they take him to a sanitarium for handicapped and retarded children but very soon the bitter future of the child comes into the mother’s mind. Then they decide to put the child in the way so that a good person takes the child with him and makes him prosperous but no one would take the child, but poor people and for making money. Eventually they leave the child by the swimming pool of an aristocratic house and leave, unaware of the fact that the child ends up in the sanitarium of handicapped and retarded children once again.
Episode two: Birth of an old woman :
A young boy, who has psychic signs in his behavior and words, nurses his old and handicapped mother, who does not even have the ability to talk, with patience and comprehension in an humble house. One day when he leaves the house towards the bank to get his monthly pension, he has an accident with a vehicle and the passersby steal his money. The young boy, who is worried about his mother’s conditions escapes from the hospital with a bandaged head, while the old woman has died in his absence. But in the house he still treats her mother as if she is alive.
Episode three: The peddler :
A group of smugglers who have unlawful activities under the cover of selling second hand clothes, take a peddler, who was their accomplice and witness of their crime, with themselves by force to kill him. The young peddler, who has arguments with the leader of the group over his life all the time, is thinking of escaping from this predicament, but all these escapes are only in his mind…

Description: NY TIMES REVIEW
JEAN-PIERRE GORIN, its French-born director, describes ''Routine Pleasures'' as a film essay about ''America - under-budget and in a shoe box,'' which is accurate as far as it goes.
The film is also a funny, very personal meditation on the activities of a group of model-railroad buffs in Del Mar, Calif., crosscut with random examples of the wit and wisdom of the seminal film critic Manny Farber, two of whose paintings are also examined in detail.
''Routine Pleasures" makes a point of never quite coming to a point. It's a movie that ponders possibilities and then moves on to other possibilities. It examines the vaguely interconnecting obsessions of the model railroaders and those of Mr. Farber, whose appreciation for Hollywood B-movies of the 1930's, especially those that deal with blue-collar workers, predates the ''discovery'' of those films by the Cahiers du Cinema critics in the 1950's and 1960's.
Mr. Gorin is fascinated and amused by the dedication of the model railroaders, a small group of men, age 16 to 70-odd, who meet twice a week in a former airplane hangar where they've constructed an elaborate, small-gauge railroad system.
On Tuesday nights they run their trains - freight and passenger -through delicately reproduced, miniature landscapes, cities and railroad yards, keeping to schedules measured in miniature time. Every six minutes equals an hour on the clocks by which they run their system. Thursday nights are devoted to repairing and refurbishing the rolling stock, the tracks and the scenery, and to trading railroad stories. One of the best of these is about a man whose mysterious, utterly American fate was always to order apple pie in a restaurant that had just run out.
Mr. Farber, who has been a friend to Mr. Gorin ever since the director came here from France in the 1970's, is seen only in still pictures, and as he is reflected in two of his oil paintings, ''Birthplace: Douglas, Ariz.,'' 1979, and ''Have a Chew on Me,'' 1983. Mr. Gorin, however, quotes him at length (and sometimes, because of Mr. Gorin's accent, not all too intelligibly), in attempting to draw parallels between Mr. Farber's ideas on America, art and movies and the railroaders' passion for living out their twice-weekly fantasies.
Scale is one of the themes. ''Life isn't too big a deal,'' Mr. Gorin quotes Mr. Farber as saying, ''and shouldn't be painted as such.'' Mr. Farber's two paintings are filled with representations of specific objects, people and events. The model railroaders' dreams are realized in scaled-down representations of real trains running through real places on real schedules.
''Routine Pleasures'' isn't strong on coherence, but coherence isn't what this sort of film is all about. It's meant to provoke questions rather than to answer them, which effectively deflects all criticism. Possibly far more provocative than this chatty, handsomely photographed essay would have been two separate films - one about the model railroaders and one about Manny Farber. But those two films might have turned out far more routine and far less pleasurable than this one.
''Routine Pleasures'' is Mr. Gorin's second American feature, following his expert 1980 documentary, ''Poto and Cabengo.'' Once known primarily as Jean-Luc Godard's collaborator during his Maoist years (''Tout Va Bien,'' ''Letter to Jane,'' ''Vladimir and Rosa,'' among others), Mr. Gorin is now clearly a film maker with his own style and obsessions, as well as a man with his own sense of humor. Eclectic Essay ROUTINE PLEASURES, directed by Jean-Pierre Gorin; written by Mr. Gorin and Patrick Amos; cinematography by Babette Mangolte; edited by Mr. Gorin, Miss Mangolte and Mr. Amos; produced by ZDF, Institut National de la Communication Audiovisuelle, Channel Four Television, London, and Jean-Pierre Gorin Productions.

When Nicole, a young copy-shop employee, is hired to translate an ancient Chinese manuscript, she soon finds that the document has strange powers that little by little begin to exert an eerie influence over her life.

Joan Braderman talks about and appears in front of a projected version of the soap opera Dynasty.