Nicholas Ray ended his Hollywood career with his most expensive production, 55 Days in Peking (1963), and followed it ten years later with his least expensive, an experimental and politically radical independent feature made with his film students. Each movie is a shambles, though if I had to choose between them I'd probably opt for this one, which is certainly the more original. Ray and his students play themselves in docudrama situations that culminate in Ray's (fictional) suicide, and often he combines several images into crowded frescoes. The film reeks of countercultural alienation and anguish, and when it premiered at Cannes in 1973, Ray spoke of trying to make "what in our minds is a Guernica" out of such materials as "a broken-down Bolex" and "a Mitchell that costs $25 out of navy surplus." He tinkered with the film for years, and the 1976 date commonly assigned to it refers to a second unfinished version, which, lamentably, is unavailable. It's upsetting in many ways, but as a document of its time there's nothing remotely like it. From 1971 to 1973, Ray taught filmmaking where he and his students produced We Can't Go Home Again, an autobiographical film employing multiple superimpositions. In the spring of 1972, Ray was asked to show some footage from the film at a conference. The audience was shocked to see footage of Ray and his students smoking marijuana together. An early version of the film was shown at the Cannes Film Festival in 1973, but Ray, never satisfied with the project, continued editing it until his death in 1979. He secured teaching positions at the Lee Strasberg Institute and New York University with the help of old friends.

Did Nick Ray leave Hollywood, or did Hollywood leave him? What was he up to when he returned to the States after a decade in Europe? What was his intention with We Can’t Go Home Again, that experimental film he made with a bunch of college students? What was he doing with so many images on the screen all at once? How did he do it? Why was the film never finished? Did he lose his way, his talent, his sanity, his common sense? Don’t Expect Too Much, a feature-length documentary helmed by Ray’s wife Susan, investigates these questions and the relationship forged by Ray between his life and his art. Drawing on the director’s archive of never-before-seen film, video and stills, Susan finds answers to our questions about Nick Ray in Nick Ray’s own words and images. And we learn from interviews with members of the original crew of We Can’t Go Home Again, directors Jim Jarmusch and Victor Erice, and others, how this man lived, saw, learned and taught, how he fought and danced with his demons, how he loved.

An in-depth analysis of the relationship between New Wave pioneers François Truffaut and Jean-Luc Godard, as seen through rare archival footage, interviews, and film excerpts — written and narrated by former Cahiers du Cinéma editor Antoine de Baecque.

一九七三年，一个富裕的荷兰人出资邀请Nicholas Ray ,Dusan Makavejev等多位导演拍摄以“性梦”为主题的几分钟的短片，这样一部由十三部短片组成的电影就此诞生。一年后，一位法国艺术院线的老板买下了版权，该片得以公映。 1."The Plumber" 水管工(黑白/默片/导演：Lee Kraft) 2."Deep Skin" 微观性爱(导演：Max Fisher) 3."A piece of social realisme" 生活断片(导演:Jens Jørgen Thorsen) 4."Contrasts" 对照(导演：Max Fisher& Lee Kraft) 5."The Private World of Hans Kanters" Hans Kanters的私人世界(卡通/导演：Hans Kanters) 6."Flames" 火焰(导演：Heathcote Williams) 7."Politfuck" 性政治(导演：Dusan Makavejev) 8."Dragirama" (卡通/导演：Oscar Gigard) 9."A Face" 一张脸(导演：Max Fisher) 10."The Happy Necrophiliacs" 幸福的女性欲狂(导演：Lasse Braun) 11."The Banner" 旗帜(导演：Lee Kraft) 12."The Janitor" 看门人(导演：Nicholas Ray) 13."On a Sunday Afternoon" 周日下午(导演：Geert Koolman)

Tom Ripley, an American who deals in forged art, is slighted at an auction in Hamburg by picture framer Jonathan Zimmerman. When Ripley is asked by gangster Raoul Minot to kill a rival, he suggests Zimmerman, and the two, exploiting Zimmerman's terminal illness, coerce him into being a hitman.

After moving to a new town, troublemaking teen Jim Stark is supposed to have a clean slate, although being the new kid in town brings its own problems. While searching for some stability, Stark forms a bond with a disturbed classmate, Plato, and falls for local girl Judy. However, Judy is the girlfriend of neighborhood tough, Buzz. When Buzz violently confronts Jim and challenges him to a drag race, the new kid's real troubles begin.