A dissatisfied Navy clerk begins handling secret documents when he is approached by secret Czech intelligence to hand over documents to them. Although he is being blackmailed, he agrees to do so while also being paid for the information. He begins an affair with the secretary who also has access to greater secret documents. Together, the couple continue to procure information for Czech intelligence while getting paid. Soon, the British government gets wind of their betrayal.
World Without Sun, a documentary produced and directed by Jacques Cousteau in 1964 chronicles Continental Shelf Station Two, or "Conshelf Two", the first ambitious attempt to create an environment in which men could live and work on the sea floor. In it, a half-dozen oceanauts lived 10 meters down in the Red Sea off Sudan in a star-fish shaped house for 30 days. The undersea living experiment also had two other structures, one a submarine hangar that housed a small, two man submarine referred to as the "diving saucer" for its resemblance to a science fiction flying saucer, and a smaller "deep cabin" where two oceanauts lived at a depth of 30 meters for a week. The undersea colony was supported with air, water, food, power, all essentials of life, from a large support team above. Men on the bottom performed a number of experiments intended to determine the practicality of working on the sea floor and were subjected to continual medical examinations. The documentary, 93 minutes long, received wide international theatrical distribution, and was awarded an Academy Award for Best Documentary, as well as numerous other honors. It was Cousteau's second film to win Best Documentary, the first being "The Silent World" released in 1956.
Dans la ville des sultans et des harems, mais aussi de la misère en coulisses, à l'époque durant laquelle les différentes communautés vivaient en bonne entente.
C'est l'un des premiers films du réalisateur néerlandais Johan van der Keuken. Il a en effet réalisé de 1957 à 1964 une série de courts et très courts métrages, qui ne sont pas toujours comptés comme partie intégrante de sa filmographie. Dans la filmographie assez dense de ce réalisateur de films exclusivement documentaires, l'Enfant aveugle occupe une place particulière puisque, avec sa suite L'enfant aveugle 2 : Herman Slobbe, il constitue une sorte de diptyque ou le jeu voyant/voyeur/non-voyant touche à l'ontologie (à l'essence) même du cinéma : en posant la question "qu'est-ce que voir" le réalisateur ne manque pas de demander "qu'est-ce que le cinéma". Il laisse la question ouverte.