Directed and edited by Esfir Shub. A devastating chronicle of Tsarist Russia from the eve of World War I until its brutal demise in the revolutions of February and October 1917, The Fall of the Romanov Dynasty comprises hundreds of films that Esfir Shub unearthed and rescued from damp cellars and other neglected corners of the Soviet Union, including newsreels and home movies taken by the Tsar’s own cameramen. Using the film splice as a cudgel, Shub contrasts the Imperial Family in opulent ballrooms, regal processions, and garden tea parties with the backbreaking toil of the masses, a bitter satire that makes the Revolution seem both historically inevitable and triumphant. One of the great pleasures of this Vertov retrospective is rediscovering the work of certain largely forgotten women filmmakers of the Soviet avant-garde, including Elizaveta Svilova, Vertov’s editor and wife, and Shub, who pioneered “found footage” cinema and was instrumental in the development of dialectical montage, collaborating with Sergei Eisenstein on the shooting scripts of Strike and Potemkin. (from moma.org)

This piece features more interviews with the principal cast, discussing the band's unique presentational style.

大樂是個品學兼優、乖巧貼心的孩子，但卻有一個不務正業、遊手好閒、家庭暴力的流氓爸爸；爸爸的角色跟形象，可有公式與學習法則？而一個父親做的好與壞或對與錯的價值判斷，真的是需要依照社會那一套既定的價值標準，去檢視每個人的心裡頭，都會該有的那個父親形象嘛？本劇想傳達的，就是父親其實應該是一個抽象的感覺，而不是具體的公式化的形象，無須比較，也無從比較起。大樂的爸爸－陳忠臣或許是所有人眼中無所事事的流氓，別人眼中他當父親或許不及格，但這個打分數的人，不該是別人，應該是他自己的孩子-----陳大喜與陳大樂才對。所以“父親”，其實或許應該是一種感覺！

香港出现神秘自杀事件, 死者在手机视频直播下自焚而死，而在场唯一的目击者却坚称自己当时失去了记忆，并且否认与自杀事件有关。警察重案组接手调查, 所有证据都指向目击者是自编自导自演， 教唆他人自杀的真凶。由于自杀视频的流出，造成公众恐慌，警队高层希望在证据确凿之下尽快结案，以释公众疑虑，但唯独督察黄一聪觉得事有蹊跷。一聪在请示上司后，决定再次对事件展开调查......