This ground-breaking cinéma-vérité classic documents five weeks in the lives of twelve residents of a home for emotionally disturbed children. It is the first in the form that King later described as actuality drama. All the action is spontaneous and undirected, with neither interviews nor narration. The theme is the outrage of life. The children asked the filmmakers, Why is it that whenever pictures of us are put in the papers, our faces are blacked out. What is so awful about us that we cant be seen? They wanted to be filmed so that they could be seen.

The coming-of-age of adolescent Brian O'Connal in small town Depression-era Saskatchewan is told. The son of the local pharmacist Gerald O'Connal, Brian is in many ways a typical boy, who dislikes school if only because of his run-ins with the nervous schoolteacher, Miss MacDonald, and who tries to catch gophers with his friends, Artie and Forbsie. His best friend and protector is slightly older Jonathan Ben, better known as The Young Ben (as his father is referred to as The Ben), who is highly regarded as a problem by those in town who see themselves as the moral authority if only because of The Young Ben's association to The Ben, the town still keeper and drunk. Brian's life takes a turn when his parents have to leave town temporarily, while Brian stays on his Uncle Sean's farm. That stint leads to a series of events which make Brian see life around him through slightly older and wiser eyes.

The Alberts (Bruce Lacey, Tony Gray and his brother Dougie Gray) attempt to take off. There are two edits of this film, both with their own distinct ending.

Five boys and five girls ages 13 to 19 live on a farm for ten weeks, to be filmed, and to see what might emerge for each of them personally.

一對夫婦向導演講述自己的情感生活，煩亂，緊張却也有趣。這部電影在于探討永恆的浪漫關系，以及根深蒂固的性別觀念。

At Baycrest, an old-age home in Toronto, we follow a social worker as she talks to residents, particularly Max, Claire, Ida, and Rachel. The film opens on Claire's birthday, she's 89; Max, a tiny cheerful man, is her close friend. Rachel is lonesome, missing her son, complaining he rarely visits. Ida relies on memory for her solace. Helen has no memory and doesn't recognize her daughter; her moods swing. Murray keeps his cap on and likes women. Staff members bring medication, provide care, and offer small talk. Memory is fleeting: Claire re-experiences the death of a close companion several times, each time without remembering her previous grieving. Lives are circumscribed

非常独特的一部电影，导演拍摄了五个末期癌症患者在多伦多格蕾丝疗养院的最后日子，他们面对死亡无所畏惧，令人印象深刻。

加拿大导演阿兰.金可能是过去50年中最不为人熟悉的重要导演之一，他的长片和短片，电影和电视片，喜剧和戏剧，小说和其它文体上都有所建树。他的导演生涯丰富多彩，尤其那些被称作“直接电影”的纪录片，是阿兰.金对电影作出的重大贡献。阿兰.金自己则称之为“现实戏剧”。这些作品细致入微的描述着生活中的不稳定元素：问题少年，矛盾夫妻，无法治愈的疾病......引人入胜而有具备强大的情感冲击力。而这位导演已经于2009年6月去世。