情欲城市

 一位无家可归的失忆男子接受一场实验性医学手术，术后醒来发现自己获得新的能力，可以看穿人们内心最深处的伤痛，真实和幻象之间的界线也因而模糊难辨。

　　The nightmare was about a demonic possession. A long time ago, there was an evil in a small town and it was jealous of the girl and would never let her go, since the devil loved the girl. One night, the evil raped the girl and she became pregnant. After months the girl could not hide her baby, her father figured her secret out and clapped the girl in irons and locked her room door. But the evil put the gun to her father' temple and saved the girl. The father had a stroke and had been sleeping on the bed for three months and died. Time went on and the girl brought a child into the world. Naturally, people who were living in the village heard the story and they did not want to see neither the girl nor the baby since when the baby was born, plants dried in the field, fishes lost in the lake and people had prayed to the god for rain, but nothing changed in the village. People got so angry, dug a hole in front of the fountain, put her into the hole and threw stones at her face. The girl died soon after. The evil went off the deep end, took a revenge of the village and killed everyone except two sisters because the evil wanted them to take care of its baby...

　　标题中的「ぶぶ漬け（お茶漬け）どうどす」是一句众所周知的京都表达，京都人常用这句话以委婉的方式传达「差不多该告辞了」的意思。电影《ぶぶ漬けどうどす》以此为主题，展现了因京都特有的县民性而引发的各种闹剧，并展开了一段充满喜剧色彩的故事。影片以从东京嫁到京都老字号扇子店的自由撰稿人澁澤まどか为主人公，描绘了〈京都人〉与从东京而来的〈外地人〉之间的攻防与冲突。

Madea的哥哥Joe陪同他的孙子B.J.进行了一次大学公路旅行。

 一个临时演员被召去在一部关于俄国革命的电影中扮演一名将军,然而,他并不是一位普通的临时演员,他就是谢尔盖·亚历山大,尼古拉斯沙皇时期的一位前将军。他在1917年共产主义革命后从俄国军队里逃到了好莱坞。现在,为了使电影的导演,一个也曾参加过俄国革命的人满意,他被迫要去重新 经历那一段曾带给他无穷苦痛的生活。这一次,这个倒霉的将军有机会去“赢得”那曾经一败涂地的战役。电影闪回到亚历山大在俄战中的艰难生活。他感到无论他怎样努力,似乎都无法阻止历史的车轮滚滚向前。但是有一个女孩理解他,因为他的强烈的爱国精神和正派的行为,这个女孩爱上了他……

　　改编自叔叔杰西·祖拉斯基(Jerzy Zulawski)的科幻小说杰作《月球三部曲》，故事描述人类逃离毁灭的地球，飞船坠落在银色星球上，不久后有人开始在星球上进行造神运动，然信徒分化后一派奉此外来政权为神，另一派则视之为魔，人性贪婪的劣根性，在这星球上暴露的一览无遗……　　本片被誉为是“一部拍给另一个世界的人看的电影”。影评人一致推崇这部片是导演安德烈·祖拉斯基电影生涯中，最具史观、野心勃勃且兼具后现代主义的科幻哲思电影，也是他重回故乡波兰拍摄的归乡代表作。　　这部充满争议的杰作，安德烈以非常风格化又带着原始情欲的方式，传达其所钟爱的命题：一则后现代主义式的寓言。故事的结局，地球人不但改变原本的内在，连外在也慢慢变成介于人与鸟的中间物种。这种由内而外，进而转化成另一物种的隐喻，也为这部犹如政治寓言的科幻史诗，更添加了奇幻色彩。　　1977年当影片拍好八成时，新上任的波兰文化助理大臣禁止此片拍摄，并下令销毁场景、布置和服装，直到1986年波兰民主化，本片才跟着其它禁片出土。本片同时也发掘了戛纳影后克里斯提娜·杨达的潜能，拍摄这部处女作不久，她成为基耶斯洛夫斯基及瓦伊达最喜爱的女演员，也成为波兰的国民影后。