這部影片改編自蕭洛霍夫的兩篇小說『The Shibalok Seed』、『Birth-mark』。1920年俄羅斯發生內戰。因為親人之間政治信念的不同，經常發生兄弟鬩牆、父子相殘的局面，最終導致家庭的崩解，一位槍手（由俄國著名的演員Yevgheny Leonov所扮演）愛上一個和自己理念不同的女人Darya，只有一個小孩幫他接近她，但不久…

The film is based on the short stories 'The Shibalok Seed' and 'Birth-mark' by Soviet writer Mikhail Sholokhov.
In the 1920s' Russia, swept by the civil war, it often happened that brother stood against brother, son against father, with families breaking down because of the differences in political beliefs of close relatives. A Don Cossack, the machine-gunner Shibalok, portrayed by the great Russian actor Yevgheny Leonov, fell in love with a woman who did not share his viewpoints. Only a child helped bring him close to Darya, but it was not for long.....

　一個虛弱的男子帶著一個小男孩，他因為受到戰火無情的摧殘而形銷骨立。原本安逸的生活已經被恐佈的戰地生活破壞得蕩然無存。因為是戰犯，他在德國軍營裡被強迫勞役和虐待。但他還是僥倖地脫逃了，而且回到紅軍的陣營。他獲知妻子與兩個女兒已經在炮火下喪生，他的長子則在戰爭結束前一日過世。即便如此，男子的求生意志還是昂揚，他領養了一個戰地孤兒。影片在蘇聯電影史上第一次呈現戰俘的生活條件，同時避免陳腔濫調的英雄主義。

A screen adaptation of the story of the same name by Soviet writer Mikhail Sholokhov, a Nobel Prize winner.
Andrei Sokolov, the film’s protagonist, had lost in the war with fascist Germany his wife and children, had survived the horrors of a concentration camp. He was already being led to be shot, but at the last minute the camp’s commandant, Muller, revoked the sentence. After his release from the camp, Andrei Sokolov marched with the Soviet Army as far as Berlin. But Fate would not stop testing him: on Victory Day he got the news of his son Anatoly’s death. And in spite of the fact that he seemed to have lost everything, he remained a good human being and became a father to an orphaned boy.
The great Russian director and actor Sergei Bondarchuk played the leading character in his own film, which was to become a hymn to human spirit and faith in life.

　在一個村莊裡，兩個家族彼此怨恨，但是他們的小孩Maritchka 與 Ivan卻深愛著對方。長大成人之後Ivan必需遠離家庭去謀生。某天，突然有不祥的預感，他盡速地趕回家裡，卻遲了一步，Maritchka已經跳河自盡。在思念情人的痛苦中，Ivan每天在叢林裡自我放逐。直到有一天，他結婚了，只是不久之後，妻子背叛了他，愛上一個靈媒。在強烈的嫉妒中，靈媒以斧頭殺了Ivan。影片以出神入化的方式混合細膩的紀錄場面和巴洛克華麗的視覺效果。透過主角情感的引導，漩渦式的敘事方式，穿梭於奇幻真實之間。攝影機像是著魔似地，將觀眾帶進他們神秘的夢境。影片上映後曾遭禁演，但在壓力下，隨即解禁。

In a Carpathian village, Ivan falls in love with Marichka, the daughter of his father's killer. When tragedy befalls her, his grief lasts months; finally he rejoins the colorful life around him, marrying Palagna. She wants children but his mind stays on his lost love. To recapture his attention, Palagna tries sorcery, and in the process comes under the spell of the sorcerer, publicly humiliating Ivan, who then fights the sorcerer. The lively rhythms of village life, the work and the holidays, the pageant and revelry of weddings and funerals, the change of seasons, and nature's beauty give proportion to Ivan's tragedy.

帕拉贊諾夫 Sergei Parajanov
原名Sarkis Paradjanian， 1924年生於喬治亞的首府Tbilissi，父母是亞美尼亞人。原本於音樂學校學習歌唱，之後轉入繪畫，再於1946年進入VGIK學習導演。就學期間就曾因為放蕩不拘的行為，被以同性戀嫌疑逮捕入獄。1954年在基輔拍攝第一部長片，改編自Emilian Boukov的詩作。接著以烏克蘭語拍攝數部談論烏克蘭藝術的短片和數部被指定拍攝的長片，此時的影片仍帶有些許傳統俄國電影的影響。1955年的《被遺忘祖先的影子》讓他正式成為國際知名的導演，饒富詩意的影像與詭譎多變的色彩，讓他的影片散發出一股迷人的魔力。1969他受邀前往亞美尼亞拍攝《Sayat Nova》，可是強烈的地方色彩違逆了蘇俄當局社會寫實主義的規範，懷疑他的民族主義與唯心論，迫使他修改影片，1971年以《石榴的顏色》的片名，推出一個「比較合乎邏輯與理性」的版本。只是從此帕拉贊諾夫不斷地挑釁蘇聯當局，當局更是無法原諒他曾於1968年簽署一份烏克蘭知識份子所草擬的反政府文件。1971年起他的拍片計畫便一再遭到拒絕，1974年終於以走私聖像和同性戀等罪名再度入獄，判刑五年，最後在法國詩人阿拉貢和美國作約翰‧厄普代克（John Updike）等國際友人的奔走下，於四年又十四天後出獄。只是悲慘的命運並沒有就此離他而去，他再也找不到拍片的機會，1982又以「投機」的罪名被捕。1984年拍攝改編自十九世紀小說的《The Legend of the Suram Fortress》。1988年首度離開蘇聯，拍攝改編自俄國詩人萊蒙托夫作品的《吟遊詩人》。1989再度改編萊蒙托夫小說《懺悔錄》，因病中斷。在巴黎短暫靜養後，要求回到亞美尼亞，隔年病逝。多文化的背景是他才華橫溢的泉源，確也是他遭受政治迫害的徵兆。他在入獄期間大量地畫畫，曾經開過畫展。後人並為他在亞美尼亞的Yerevan成立美術館。他和獄友的對話則成了「100部小說和6個劇本」，但就像他自己所說的，只能「和自己永遠一起埋葬」。
帕拉贊諾夫官方網站 http://www.parajanov.com/main.html

　影片從童年到死亡，敘述集詩人、畫家、音樂家等多重身份的18世紀藝術家Sayat Nova的一生。璀璨的影像下幾乎沒有對白，穿插著字卡、竊竊私語、詩、祈禱文、悲歌…；喬治亞語、亞美尼亞語、亞塞拜然語，就是不使用俄語。除了飾演Sayat Nova與其情人（雙重角色）的演員之外，其餘都是非職業演員。1969年上映後遭到撤演，1971年再度推出修剪版，最後遭到永久禁演。現在的版本比原始影片少了近20分鐘，被剪的片段包括情色場面、教堂裡宰殺動物的祭禮、敘述Sayat Nova與王子交情的場面、土耳其–伊朗入侵的場面，還包括三個血紅的石榴擺置成古亞美尼亞統一地圖的畫面。

One of the greatest masterpieces of the 20th century, Sergei Parajanov's "Color of the Pomegranate", a biography of the Armenian troubadour Sayat Nova (King of Song) reveals the poet's life more through his poetry than a conventional narration of important events in Sayat Nova's life. We see the poet grow up, fall in love, enter a monastery and die, but these incidents are depicted in the context of what are images from Sergei Parajanov's imagination and Sayat Nova's poems, poems that are seen and rarely heard. Sofiko Chiaureli plays 6 roles, both male and female, and Sergei Parajanov writes, directs, edits, choreographs, works on costumes, design and decor and virtually every aspect of this revolutionary work void of any dialog or camera movement.

　故事敘述窮詩人Ashugi Qaribi與富商的女兒Magoul-Meguerie之間誓死不渝的愛情故事。富商拒絕讓女兒嫁給流浪的詩人，於是詩人必需在千日內致富，否則他的戀人將嫁給年輕富豪。詩人開始上路，途中遇到狡猾的騎士（酷似年輕富豪），以友誼為藉口要陪伴詩人，他偷走詩人的衣服，並且宣告詩人已死。詩人在流浪中遇到戰亂，在神靈的協助下於一千零一日後回到家鄉，那一天他的情人將嫁給年輕富豪。
這是導演親自完成的最後一部影片，影片結束時帕拉贊諾夫將它獻給和自己一樣擅拍電影詩，一樣無法被蘇聯當局接受的塔科夫斯基。有趣的是，塔科夫斯基在1982年參與導演的義大利紀錄片《雕刻時光》（Tempo di viaggio）中，則談到自己對帕拉贊諾夫影片的喜愛。

Wandering minstrel Ashik Kerib falls in love with a rich merchant's daughter, but is spurned by her father and forced to roam the world for a thousand and one nights - but not before he's got the daughter to promise not to marry till his return. It's told in typical Paradjanov style, in a series of visually ravishing 'tableaux vivants' overlaid with Turkish and Azerbaijani folksongs.

　年輕的作家經常出入一家出版社，希望他們能夠出版自己的小說《藍山》。他幾乎把手稿發給每個人，但是這家出版社每個人似乎都有忙不完的事，從來沒有人真正看過他的書。直到有一天它他終於收到評議委員會的通知，告訴他書名取得很好，內容則需要再考慮。情況繼續惡化下去，直到出版社的辦公室坍塌為止。導演極盡能事地諷刺官僚體系，巧妙的融合惡毒的批判與幽默感。令人困惑的片名，告訴我們詩意的顛峰與遼闊的田園情境背後，隱藏的是一個佈滿灰塵的現實環境。詼諧的劇情一開始只是微妙地現身，但是隨著故事的推展逐漸籠罩全片，最後才是災難性的大結局。

In this extremely funny satire on Soviet bureaucracy, the protagonist, a hapless author, attempts again and again to get his editors to accept his manuscript -- a novel with the title "Blue mountains or Tienshan." The story unfolds with the inevitability of a fairy tale, in which the naive hero learns about the world, and while the would-be author wanders through the hallways of his publishers, we in turn learn a lot about the crumbling Soviet system and the inactivity of its bureaucratic functionaries. By Hollywood standards, the film may be slow and repetitive, but it is precisely the repetition of tragicomic situations that bring the film to the heights of a Beckettian absurdity. Even after the end of the Soviet Union a film that is worth while watching.

　一個年輕的作曲家出發前往喬治亞的幾個城市旅行，非常希望能夠採集各地的民謠。但是他的同伴卻相信，他是受到一個革命組織派遣，為的是計劃未來的行動。影片一開始便籠罩著一股不祥的預兆，像是暴風雨前的寧靜。導演與攝影師微妙地在消極的安詳和積極的罪行之間，營造出令人不安的張力。這種寧靜的張力持續著，但是詭異的氣氛卻悄悄地擴散，爆炸、火災、逮捕行動，直到惡運擴及全國。人物的奔走並不意味他們準備反抗，純粹只是懾服於恐懼的狀態中。他們想逃離，卻缺乏勇氣與時間。他們在等待一個領袖的出現…。

1907,After the first Russian Revolution frustration. NIKUSHA (Levan ABASHIZE) which just graduated from the music college of metropolitan CHIFURISU extracts collects the old Georgian folks with a teacher's letter of introduction, the newest recorder, and the map in who the visiting place was described…they want to escape but they don't have courage and time. They are waiting for a leader...

　影片敘述詩人與善惡的關係，必需擊退想要統御人類的惡。但是心胸開闊的騎士們卻毫無防備地陷入險境，這讓詩人相信與邪惡對抗是不可能的。他放棄毫無用武之地的爭戰與自己可笑的處境，詩人放下了武器。就在這個時候，所有受到敬重的英雄都來造訪他，他們將蠟燭浸置於酒杯中，那是喬治亞人認輸的象徵。眼見新的災難接踵而至，導致所有的人放棄繼續作戰，於是詩人重新拿起武器，再上戰場。影片拍攝時正是多部蘇聯影片如塔科夫斯基的《安德烈‧盧布烈夫》遭禁的時候，阿布拉澤以Vaja Pchavela的詩為後盾，敘述個人信仰與社會、群眾、古老部落等對抗時的慘烈狀況。

Based on the poems 'Aluda Ketelauri' and 'The Guest and the Host' by the classic of Georgian literature Vazha Pshavela.This film opens Tengiz Abuladze's trilogy ('The Plea', 'The Wishing Tree', 'Repentance'), which discusses the subject of common human values using original national material.The death of heroes, the knights of truth and good, leads the Poet to the conclusion that the evil is invincible. Exhausted by struggle and privations, the Poet lays down his arms. He is visited then by all of his favorite heroes. They put out candles by dipping them into a beer cup - a ritual Khevsuri gesture meaning renunciation. And only after seeing what misfortune and harm the rejection of fighting the evil results in, the Poet takes up arms again.

　Varlam Aravidze是市長，他那隆重的葬禮舉行時，他的兒子Abel、兒媳Guliko與孫子Tornike都出席觀禮。但是隔天屍體卻出現在兒子家的花園裡。很快地，他又被神秘地埋葬一次。但是事情持續發生，直到幕後肇事者被抓到為止。凶手是一個女人Ketevan Barateli，因為她說Varlam Aravidze是一個殘酷的獨裁者，他害死了自己的父母和其他十幾個人。Aravidze週圍的人成功地讓女子閉嘴，但是他的孫子強烈指責家人掩蓋事實，並且自殺。雖然付出影片禁演三年的代價，但是導演勇敢地以嘲諷和戲謔的方式抨擊包括史達林在內的全世界獨裁者，讓這部影片解禁時，得到廣泛而且無與倫比的掌聲。

The day after the fumeral of Varlam Aravidze, the mayor of a small Georgian town, his corpse turns up in his son's garden and is secretly reburied. But the corpse keeps returning, and the police eventually capture a local woman accusing her of digging it up. She says that Varlam should never be laid to rest, as when he was alive he was responsible for a Stalin-like reign of terror that led to the disappearance of many of her friends...

　1923年內戰結束，中亞再度回歸平靜。一個紅軍士兵來到吉爾吉斯成為小城的教師。意氣風發的他，意識到唯有教育才能使農民脫離奴隸的命運，得到新的生活方式。但是頑固的村民並不願意配合，他只好獨自從一個廢棄的穀倉開始建立學校。直到有一天，傳來列寧逝世的消息，從前的富人想要重新建立自己的勢力範圍，搶走他的一位女學生，並且燒掉他的教室。這是導演的第一部長片，也是他在VGIK的畢業製作，原本並沒有計劃做全國性的發行。二十七歲的康查洛夫斯基沒有選擇拍攝學校的所在地莫斯科，沒有歌頌革命的果實，而是選擇在蘇聯當局的勢力還無法控制、仍然籠罩在封建制度下的小鄉村。他重回革命前俄國電影的傳統，對社會改革充滿使命感，但不一樣的是，在強烈寫實主義的外表下，他以反英雄和反教條的故事詮釋，對現實社會提出最嚴酷地質疑。這部影片也因此被公認為蘇俄電影新浪潮的奠基之作。1971 年當康查洛夫斯基接受外國記者訪問時就談到：「革命是一種建設，也是一種毀滅」。片尾Natalia Arinbassarova在大雨滂沱中由壓抑、流淚到情緒宣洩的裸浴場面，令人動容，更令人訝異這個場景拍攝於1965年的蘇聯。Arinbassarova後來成為康查洛夫斯基的妻子，他們的兒子Egor Kontchalovski也是電影導演。

Soviet Union, near the Chinese border, 1923. A stranger has just come in this little country village. He is a teacher, sent by the Communist Party to teach the ignorant masses. But the countrymen are to help him, and even to let their children go and "sleep" at school instead of giving a hand. There is only, Altynai, an orphan, to seem fascinated by the teacher and his knowledge.

　在1942到1943年冬天，莫斯科人正因德軍的攻擊而人人自危。一個戰地作家獲得20天的假期，離開史達林格勒的戰火，到烏茲別克的首府Tachkent探望軍中朋友的家人，他的朋友在戰場中喪生。在途中他觀察人們的眼神，傾聽一個士兵的告解，還遇到一個哭泣的女子。到達目的地時，他發現一切都很不真實，就像他看到有一部以他的小說為藍本的電影正在拍攝，還有過年的時刻，和前妻的拜訪。最後他重遇火車上的女子，共渡他在Tachkent的最後時刻。整部影片就像片名所說的–「二十日無戰事」，一部極為少見，充滿情感的優美影片。片中主角面臨兩個抉擇，一個作家如何面對這個世界？一個男人如何面對他的生活？就在傑曼因為前一部影片遭受圍剿時，著名的蘇聯作家康斯坦丁‧西蒙諾夫是少數敢出面力挺他的名人。自然而然地，造就他們在這一部影片中合作的機會。

Alexei Guerman's contribution to Lenfilm goes far beyond the brilliant films he has directed there; since the mid-70s, he has become something of a figurehead for the "Lenfilm spirit" - provocative, unexpected, and decidedly non-conformist. Son of the writer Yuri Guerman, he returns again and again in his films to the scene of his father's youth in an effort to understand how, to his mind, things turned out so badly in the Soviet Union for so many reasonably good people. Naturally, such a theme has not made his work popular with authorities. In Twenty Days Without War, he brings to the screen an adaptation of Konstantin Simonov's story Lopatin's Notes. A weathered military reporter, Lopatin is given twenty days leave to recuperate in Tashkent; yet the war is everywhere around him - in the numbing poverty, in the faces of teenagers with no future. A love story emerges, but it seems little more than a faint protest in such a world. For Lopatin, Guerman cast a famous circus clown, Yuri Nikulin, a bold stroke that assured that his Lopatin would be far removed from the typical image of Soviet war heroes.

　在1935年那個艱苦的時代，黑市猖獗，社會風氣極度敗壞。Ivan Lapchine是犯罪刑事局的領導，愛上一個叫Natacha的女演員，她剛搬到與Ivan同一個社區居住。雖然他對Natacha一片癡情，但她喜歡的卻是Ivan的朋友Khanine。Ivan在工作上是一個鐵血無情的狠角色，但私底下卻無法向自己所愛的女人表達愛意。像是要為《Chekpoint》遭到禁演復仇似的，13年後傑曼再度把父親的小說搬上銀幕。生活的艱困在單色調的影像下，被完美地傳遞出來。攝影機更是精細的捕捉到每一個足以窺探時代氛圍的痕跡。

Set in provincial Russia in 1935, My Friend Ivan Lapshin was banned for fourteen years for its evocative dramatization of one of the darkest periods in Soviet history. A police investigator relentlessly and mercilessly pursues a gang of criminals, but in the process comes to realize the distance between the idealism of the revolutionaries and the grim, frightening reality of the Stalinist era.

　白豹部落是一個吉爾吉斯古老的部落，長久以來所有族人都依照自然的法則生存，勇氣與力量是他們最引以為傲的兩項特質。他們生活在高山頂上，依循祖先的傳統，禁止攻擊其他人，而且只有在為了取得食物的情況下才會殺害動物。Kojojach 是獵人，也是吉爾吉斯的英雄與傳奇人物。族人對他非常愛戴，尊稱他為首領。但是酷寒的冬天摧毀他們賴以為生的家園，動物在高山消聲匿跡，族人為饑餓所苦。Kojojach決定下山到谷地為族人尋求食物。人們願意給他們食物，但條件是Kojojach必需答應夏天帶領族人下山保護他們，並且為他們抵抗敵人的襲擊。在絕望中，人類背棄大自然的法則和祖先的傳統，極盡所能地獵殺動物。殘酷、奸詐與報復的意念也就一發不可收拾。
The Russian Descendant of the Snow Leopard is based on a famous Kirghizian folktale. Apparently the Kirghizian folks had plenty of time to tell this story: to print a full synopsis would result in a novelette. Essentially, the story involves a proud group of highland hunters called the Snow Leopards, who in order to survive a brutal winter must request help from the Lowland people. The price for this assistance is the hand of the Snow Leopard's daughter, who is promised in marriage to a wealthy Lowland trader. During the Springtime wedding celebration, the trader becomes fascinated by a stranger who wins all the athletic contests. This "male" contestant turns out to be a woman, who has arrived to seek freedom for her imprisoned husband. The subsequent romance between the trader and the beautiful stranger results in disaster and bloodshed for both the Snow Leopards and the Lowlanders. Originally titled Potomok Belongo Barssa Descendent of the Snow Leopard won a Silver Bear award for director Tolomus Okeyev at the Berlin Film Festival.

　在Temir年輕的時後遇到一位他所愛慕的少女。女孩並不太在意Temir的存在，雖然他總是靦腆地到處跟著她。她也不太喜歡他所送的禮物，一個紅蘋果，象徵自己感情的寬闊與純潔。少女跟著另一個男孩離去，但她一直隱藏在Temir的內心深處，成為一個秘密的夢想。多年之後他成為一個畫家，娶了莎賓娜Sabira為妻，並且有一個女兒安娜，但一切都無法改少女的思念。妻子為他的秘密感到極度失望與沮喪，決定搬到另一個城市，期待藉此可以強迫丈夫面對自己與家庭。導演重新質疑現代社會、都市化與隨之而來的精神錯亂。

「Tolomush Okeyev無疑是一個值得關注的導演、一個偉大的電影藝術家。他知道如何在獨裁政權最風聲鶴唳的情況下拍攝出完美的影片。無論是在內涵或是型式上都是如此。他迷人的人格特質讓他成為一個既思想開放又可愛的人」。 ~Tchinguiz Aïtmatov~

Following the critical success of his movie about the harshness of Kazakh life The Fierce One, director Tolomush Okeyev helmed The Red Apple, which chronicles several days in the life of a Kirghizian family. In the story, an artist imagines a feminine figure with such intensity that his relationship with that figure threatens his marriage. The level-headed actions of his daughter help him to harmonize the two realities.

　1991年8月19 日蘇聯政變，結束了戈巴契夫的政權。這一天，在幾千公里之外，哈薩克的首府Alma-Ata（當時尚未獨立）有一位名不見經傳的33歲導演，正在拍攝他的第一部長片，那時還沒有人知道他就是日後被廣為討論的Omirbayev，哈薩克新電影運動的帶代表人物。而他的這一部影《卡依哈》也因時際會地成了在電影史上前、後蘇聯的分水領。卡依哈，一個二十歲的鄉下青年，搭上前往Almaty的火車，他想繼續升學，但是因為隔壁同學作弊，導致他失去入學考試資格。他繼續留在城裡，接受駕駛市公車的訓練。直到一天遇到喜歡的女子Indira，她是暑期打工的大學生。本片描繪因為蘇聯解體，哈薩克必需尋找自己出路的時候，一對身處對未來充滿不確定因素的男女，他們傷感與來不及發生的愛情故事。攝影機緊跟著主角在城市中的腳步，他們的情緒、錯誤與遊盪。面對需要步步為營的城市，每個孤寂與驚恐的個體所賴以為生的，只是他們的夢想。

In this virtually wordless story, a young man from a small Kazakh village migrates to the big city. Initially sure of himself as he travels by bus and train, he meets a young woman he feels he could easily fall in love with. Later, in the city, he sees her again quite accidentally (during a showing of Woyzeck), and realizes that he already has lost his heart to her. As his relationship with the girl blossoms, in his sleeping dreams he imagines he has returned to his home village and is alone on a carnival ride while his mother watches on.

　主要的人物是一群位於北方的Nivkhis族。一個10歲的小男生，在祖父、父親的陪伴下，第一次出去獵捕海豹。那是一項辛苦且艱辛的任務。所有吉爾吉斯這個年紀的男生都得學會打獵，然後成為一個男人和家庭的支柱。不幸地，海上飄起長達數日的濃霧，讓他們迷失了方向。當預藏的食物與飲水快要用完的時候，大人們決定給小男生…。這部影片原本由Lenfilm（俄國兩大片廠之一）開拍於1978年，但在蘇維埃藝術部門的壓力下喊停。1986年才在相關人士的協助下，由杜輔仁柯片廠接手，最後在數筆德國資金的協助下完成。特別提醒，參與本片編劇的還有影展中的另一個導演Tolomush Okeyev。

原著小說（英文版）：
http://www.angelfire.com/rnb/bashiri/Stories/piebalddog.html
關於艾特瑪托夫（英文）：
http://www.angelfire.com/rnb/bashiri/Aitmatov/aitmatovlife.html
（艾特瑪托夫的《賈蜜拉》在台灣有中譯本，鄢定嘉譯，小知堂文化出版）

A parable based on Chingiz Aitmatov's novella. A ten-year-old boy together with his grandfather, father and uncle go hunting for the first time. But trouble awaits the seal-hunters: the fog settles over the sea and they lose their way. When there is no more food or water the men decide to save the boy's life at the cost of their own and thus save the entire Nivkh clan .

　一般對古爾捷耶夫的出生所知不多，據說1877年誕生於現在的亞美尼亞，父親為希臘人，母親亞美尼亞人，1949 年病逝並且安葬於法國。宣稱自己年輕時層遍遊中亞、中東國家和遠東，並接觸西藏、印度、高加索等地的智者。是一個善於挑釁，且極具爭議性的人物。認為人和動物一樣，只是整個機械體制的一部份，必需爭脫這種半夢半醒的狀態，才能覺醒地看待世界。創立「第四道」的思想體系，受他影響而創立的宗教學說與團體不計其數。其所發展出來精神控制的方法，直到目前還被軍方所採用。被一方認為是精神導師，另一方則指其為騙子、異端教徒或邪教頭子。出版多本著作，《與奇人相遇》（劉蘊芳、黃梅峰譯）與《來自真實世界的聲音》（黃承晃譯）在台灣有中文譯本出版（方智）。其中《與奇人相遇》已超越一般認為的宗教理論，成為廣為閱讀的遊記文學。Peter Brook在阿富汗拍攝《與奇人相遇》，企圖以最透明的方式去重現哲學家古爾捷耶夫對少年的回憶，亦即晦暗不明的部份。從這部影片也可以看出他日後喜歡在劇場與來自世界個地的演員合作的原因（例如以黑人演哈姆雷特），純粹與混沌、異質與沉殿間的辯證，正是Brook作品迷人的秘密。十幾年前法國電影資料館為他舉辦回顧展，並請他選片策展，結果他的片單觸及多個文化邊陲地帶，包括侯孝賢的《冬冬的假期》。

古爾捷耶夫官方網站 http://www.gurdjieff.org/
The story of G.I. Gurdjieff and his travels to achieve enlightenment and inner growth. Beginning with his childhood, the movie follows his journeys through Central Asia as he discovers new levels of spirituality through music, dance and near-encounters with death.

　一個很小的家庭 —一對父子住在一棟老公寓的頂層閣樓裡。父親才剛自軍中退伍，離開了他一直很喜歡的軍中。他之所以結束軍旅生涯並非他所願，而是被環境所迫使。過去他是軍人，現在已年屆不惑的他則變成了後備軍人。
很久以前，當他還是個航空軍校的學生時，他經歷了人生第一次、也是唯一的愛。那女孩後來成了他的妻子，還為他生了個兒子，當時他們兩人都只有二十歲。他妻子很年輕就死了，這場愛情最後所留下的就是他們兩人的共同最愛－他們的兒子。
兒子漸漸長大了，他也將踩著父親的腳步成為一名軍人。然而兒子的容貌卻不斷讓父親想到他那年輕早逝的妻子。他無法和兒子分開是因為那段至今仍然持續著的愛，這是他和他摯愛的妻子之間的唯一連結。父親無法想像沒有兒子的生活會變成怎樣？兒子也深刻地、無我地深愛著他的父親。這天倫和天職之間的至情與至愛的親密情感正在生活中試鍊著…。

Father (Andrej Shetinin) and Son (Alexei Nejmyshev) live together in a rooftop apartment. They have lived alone for years in their own private world, full of memories and daily rituals. Sometimes they seem like brothers. Sometimes even like lovers. Following in his father's footsteps, Alexei attends military school. He likes sports, tends to be irresponsible and has problems with his girlfriend. She is jealous of Alexei's close relationship with his father. Despite knowing that all sons must one day live their own lives, Alexei is conflicted. Alexei's father knows he should maybe accept a better job in another city, maybe search for a new wife. But who will ease the pain of Alexei's nightmares?

　1936年蘇俄漫長的夏天，密迪亞回到瑪露莎的家，密迪亞已十年沒有見到瑪露莎，如今她已為人妻嫁給寇托夫，並育有一女娜迪雅；密迪亞的身份是一名秘密警察，為蘇聯政治獨裁者史達林工作，在這個夏季裡的豔陽天，為何他突然像個火球熾熱般出現？而他的出現會為瑪露莎一家人的生活帶來什麼樣的改變？《烈日灼身》由真實故事所改編而成，時代背景是1936年史達林清黨前夕的俄國。藉由一名小女孩娜迪雅的眼中，看見自己和樂的家庭因為母親的舊情人闖入而遭到迫害，是一部政治寓意濃厚而感人的作品。

Russia, 1936: revolutionary hero Colonel Kotov is spending an idyllic summer in his dacha with his young wife and six-year-old daughter Nadia and other assorted family and friends. Things change dramatically with the unheralded arrival of Cousin Dmitri from Moscow, who charms the women and little Nadia with his games and pianistic bravura. But Kotov isn't fooled: this is the time of Stalin's repression, with telephone calls in the middle of the night spelling doom - and he knows that Dmitri isn't paying a social call...

　帝俄時期的莫斯科，年輕英俊的騎兵軍官維諾斯基伯爵是許多待嫁女兒的心儀的對象，包括美麗的公主凱蒂在內。在莫斯科車站，維諾斯基在返家與母親團聚的途中，從聖彼得堡出發的火車進站了，一位十分美麗的女子要求借過，她就是當時蘇俄的高層首長卡列尼的夫人安娜卡列尼娜，就在四目交會的同時，一場轟轟烈烈的愛情悲劇就此展開.....

Anna is a young and elegant wife of Mr. Karenin, who is wealthy and old. In St. Petersburg she meets the handsome Count Vronsky, and they fall in love with each other. They are very happy together and make a great looking couple. But soon their happiness gets under the social pressures. The lovers are trying to escape from society. Anna is hopelessly begging Mr. Karenin for a divorce, but he wants to keep the mother of their child. She becomes traumatized by the conflict between her new desires and her duties as a wife and a mother. Painful reality causes her a depression and suicidal thoughts. Anna loses interest in such reality and jumps under the train.

　一對從小與母親相依為命的兄弟，在一次爭吵、追逐回家後，發現消失十二年的父親突然再度出現…..一頓晚餐之後，父子三人進行了一趟荒島之旅。剛開始伊凡和安德烈不免都對能重新擁有父親感到好奇及興奮，但隨著旅程，陌生父親漸漸顯露的專斷與暴躁，讓兄弟倆該選擇如何自處？缺乏溝通技巧的父親以及正值叛逆期的兒子們，在十多年來首次面對面的旅程中，又會發生什麼無法預料的事？

Two teenage Russian boys have their father return home suddenly after being absent for 12 years. The father takes the boys on a holiday to a remote island on a lake in the north of Russia that turns into a test of manhood of almost mythic proportions.

　列寧片廠近年最重要的製作。巴維爾長期受制於母親凱薩琳大帝的攝政，形成狂鬱心態，登基後旋即以個人空想治國，終被群臣謀殺。影片沒有刻意褒貶，反而藉由男爵的冷峻觀點，帶出大時代之下，人人有盤算，卻也人人無能為力的反諷。
　七十五歲的大導演維多力‧緬里尼可夫，花了三年的時間籌劃拍攝，不只是講究衣著、背景佈置，甚至幾乎要求演員眼珠的顏色都要合乎扮演的角色，本片完成的時間正適逢聖彼得堡建城三百年，是一部具有紀念性的里程碑作品。

The film focuses on the tragic life and death of Tsar Pavel the First, who ascends to the throne knowing very little about governance and not understanding Russia or Russians. He is murdered in a palace coup that brings his son, Alexander the First, to the throne.