Portrait of Andy Goldsworthy, an artist whose specialty is ephemeral sculptures made from elements of nature.

My daughter’s name is Maya. I’ve been told that the word maya means illusion in Hindu philosophy. As I watch her growing up, spinning like a top around me, I realize that her childhood is not something I can grasp but rather — like the wind — something I feel tenderly brushing across my cheek.

The protagonist in the film is an actor (René van het Hof) who is acting his life. He is a nuisance, but only for those who have had enough of his play acting or who are ashamed to be around this clown. His wife breaks up with him because she just can't tolerate the man any more and he seems to accept that in an apparently matter-of-fact way. He leaves the city for a cottage in the countryside.

Philosophical movie, staged at the least philosophical environment imaginable: A closed scenery of a nudist spot, where some hired Czech stuff is making a plain erotic movie for a rich Russian producer. Nothing in this movie is what it seems to be at the first superficial glance.

The artist is standing in the middle of Plaza de Santo Domingo, in Mexico City, Mexico, and looks up wide-eyed as if observing something. Once a group of passers-by intrigued by gazing has gathered around him, he leaves the scene.

A woman faces a variety of emotional crises as she spends the summer interacting in various ways with friends, family, and lovers.

Rita is an outcast teenager in suburban Austria, misunderstood both at school and at home. When Rita sets out to seduce her school bus driver, she sets in motion a series of events that changes everyone's lives irrevocably.

Robert Maillart elegantly found ways to use concrete to overcome distances between banks, or to support a roof.

A woman goes to bed, falls asleep, and begins to dream. This dream takes her to a landscape of light and shadow, evoked in a form only possible through classic cinematography.

The ostensible subject of this film is the growing, drying, peeling and packaging of persimmons in the tiny Japanese village of Kaminoyama. The inhabitants explain that it is the perfect combination of earth, wind and rain that makes their village’s persimmons superior to those grown anywhere else, including the village just a few miles away. The film’s larger subject, however, is the disappearance of Japan’s traditional culture, the end of a centuries-old way of life.