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Playing with both a structural principle of the cinematic medium (the synchronization of sound and image) and one of its core dimensions (to function as a machine for the reproduction of ghosts) with boundless gusto, the greatest polymath of the 1970s New York avant-garde devotes this first part of his Hapax Legomena cycle to nostalgia. He sets it, though, in brackets and openly wonders: can we feel nostalgia for the present? Via a sequence of 13 shots, each of which sees a photograph Hollis took of the New York arts scene ritually burned on a stove while the narrator has already moved on to describing the next still, this classicist poet, photographer, sculptor, critic, and filmmaker who set cinema on a new course explores the limits of representation, rescinding and resurrecting the capacity of the image to speak of reality.源自：

在北京远郊的一处石山上，有一群来自东北的农民工，常年在这里从事开采石头的工作。老曹小曹老余老张便是其中的一支。冬天来了，他们将这一年最后一块石头从山上开采出来，再用锤子錾子把之分成小块滚下山去。小曹的媳妇----这座山上唯一的女性也是他们的厨师将先行回家，二人乘坐车的空闲游玩了天安门广场，他们看到了自己作品----广场上的石头地板。新的一年他们再次来到山上，开山凿石。春天来了，冰雪融化，一块巨大的石头也被从山上开采出来，然而石头的质量不好，化为乌有。专门来为大家做饭的老余的妻子不幸检查出子宫肌瘤，住院治疗。昂贵的手术费花去了老余去年一年的收入，希望又回到零点。《石山》导演阐述：在我的眼中，这里是一个危险丛生、随时都有可能发生意外的地方，同时，这里也是一个失衡的世界——枯燥、单调、弥漫着整座石山。人们每天只有三件事，吃饭、开山、睡觉，日复一日，没有变化，而惟一变化的是日月星辰。这样充满对比的原汁的生活，构成了某种浓浓的、艰涩的诗意，使影像在这里真正的派上了用场。在与这群开山工相处的日子里，我不断真切地感受到他们对周围世界的认知、判断、逻辑，体会到他们对待生活的态度与方式，也感触到他们内心的矛盾与卑微春去春来，花开花落，石山依然坚硬的挺拔在那里，使那里的人们显得更加的渺小、脆弱 ……

中学女生Nayuta在回家路上救了一个和母亲一起被外星人追杀的小男孩Kiro。因为好奇Nayuta戴着Kiro头上戴着的形状类似戒指的金属头饰去学校上学，被假扮成老师的外星人盯住。外星人在烧毁Nayuta的家致使其父母身亡后抓走了Kiro。Nayuta在同样头上带金属环的龙太郎带领下和同伴们会合，开始了在苏子引导下的反抗绿色恶心外星人的战斗...

Trevor Noah sharing his comical experiences from his recent travels, which range from foreign national anthems to varying cultural norms.