摩天大楼

　　那不勒斯，是充满着魔术与迷信、疯狂与理性的城市。验尸官阿迪安娜，邂逅英俊小生安德烈，干柴烈火，多年的禁忌，意大利人骨子里的风骚劲，一泻千里……两天后，出现在解剖台上的却是熟悉而又陌生的身形……

　　1960年代冷战期间，英国间谍阿列克·利马斯（理查德·伯顿 Richard Burton 饰）长年驻守在西柏林从事间谍业务。然而在目睹了潜伏在东德的同事被东德边防军射杀后，阿列克回到了英国秘密情报局总部，接受机密的终极任务。为了混入东德，阿列克故意暴露出自己的弱点，甚至是堕落的一面，以便离间东德情报机构的头目穆恩特（彼得·范·埃克 Peter van Eyck 饰）与手下菲德勒（奥斯卡·威内尔 Oskar Werner 饰）的关系，瓦解其势力。然而在扑朔迷离的双面间谍面具下，阿列克渐渐发现自己不过是一枚微不足道的棋子，内心的道德审判和日渐模糊的善恶之分也让阿列克备受折磨。
　　本片改编自1963年出版的同名谍报小说。本片共获奖6次，提名4次，男主角理查德·伯顿更凭借此片荣获1966年第38届奥斯卡金像奖最佳男主角提名。

　　This film is an extremely entertaining psychological thriller with Carrol Baker excellent as a rich American widow getting away from it all at a secluded Italian villa. Enter smart aleck down on his luck playboy, Lou Castel, who has some golddigging motives behind his slick hipster seduction techniques and has no qualms about how he gets what he wants. He encourages Baker's character's incipient alcoholism and dubious self-esteem, brings in his supposed 'sister' to help drag Baker even further into a maze of sick mind games, drug addiction and group sex, all culminating in a descent into near-madness and self-destructive depravity.
　　I won't give away anymore, suffice to say that the film delivers on its swinging sixties, Euro sleaze ambience and psychological suspense thriller credentials in spades. Director Umberto Lenzi's work has been, at best, uneven and he's churned out his share of crap. However, he made some quite good giallos and crime pictures in the sixties and seventies and this is one of them (other good films by Lenzi -- SPASMO, SEVEN BLOODSTAINED ORCHIDS, ASSAULT WITH A DEADLY WEAPON, to name only a few).
　　Unfortunately this film is ofen confused with another okay but not-quite-as-good Lenzi film that was also released briefly here in America under the same PARANOIA title (but is more commonly known, especially on video, as A QUIET PLACE TO KILL).

　　黛海丝是个爱好文学艺术并希望得到别人肯定和关怀的女郎，她有稳定安逸的生活环境，别人都羡慕不已，但却没人了解她内心的孤独。结果她因为得不到关心而企图毒死丈夫，被控谋杀后却得到人们的同情。丈夫不愿家丑外扬，连同她的父亲恩威并施，终于让她无罪释放，但她却一路回想起自己的生活：结婚的盟约、婚后生活的无聊、父亲的私欲、丈夫的不解风情、倾慕的男孩远走高飞等情节后感到了无生趣。从此丈夫把她当作疯子，她则以烟酒浇愁，越发寂寞痛苦。
　　影片取材自法国著名作家、诺贝尔奖得主莫里亚克的文学名著，并由他亲自编剧，《广岛之恋》女主角希娃担纲主演，赢得威尼斯影展的最佳女主角。影片忠实还原了莫里亚克原著的精髓，那种透入心骨的寂寞和痛苦强烈地渗入观众的心灵，文学意味很重，偏重描写人物的内心感受和思想活动，夹杂有倒叙和回忆的表现手法，有当时法国电影左岸派崇尚的意识流痕迹。

　　表面看来，杰奇（帕姆·格里尔 Pam Grier 饰）是一名普通的空姐，然而，在暗地里，她一直利用职务之便，帮助军火商奥德尔（塞缪尔·杰克逊 Samuel L. Jackson 饰）运送赃款，并从中获取暴利。一次意外中，杰奇的“生意”曝光了，她本人亦遭到了逮捕。得知此事，奥德尔派出了马克斯（罗伯特·福斯特 Robert Forster 饰），想要杀人灭口。
　　让奥德尔没有想到的是，马克斯竟然疯狂的爱上了杰奇，两人一拍即合，策划了一场阴谋将奥德尔耍得团团转，甚至派出了心腹梅兰妮（布里吉特·芳达 Bridget Fonda 饰）和路易斯（罗伯特·德尼罗 Robert De Niro 饰）助其一臂之力。然而，当奥德尔发现自己受骗之时，他才发现，事态的发展早已经脱离了他的掌控。

　　林恩（薇姬·克里普斯 Vicky Krieps 饰）在一家酒店从事着清洁工的工作，她非常热爱这份职业，并且对自己有着极高的要求。无论是浴室还是客房，是地板上的一道缝隙还是漱口杯里的一把牙刷，林恩都能够将它们变得焕然一新，当然，在这背后，隐藏着她小小的私欲——林恩有一个奇怪的嗜好，喜欢通过房间里种种的蛛丝马迹，来猜测居住在这间房间里的客人的种种，这种对于未知的幻想总是能够让林恩感到非常的刺激。
　　一天，林恩故技重施，躲进了某件客房的床底下，希望能够窥探到更多的私隐，哪知道住在这间房里的，是名叫奇亚拉（莉娜·莱西米兹 Lena Lauzemis 饰）的妓女，奇亚拉那充满神秘的性技巧为林恩打开了新世界的大门。

　　西北小城龟城，大贵与一平是一同长大的好朋友，他们曾一起追求青梅竹马的姑娘春兰。后来大贵通过挖掘倒卖文物发家致富，成为了村里的一霸。春兰因家里的压力嫁给了大贵。然而一平无法忘怀春兰，决定大闹大贵和春兰的婚礼。误打误撞意外中一平得到了大贵之前倒卖的纯金佛像。只是殊不知盯上这 尊佛像的不止一平一人，台湾商人陆老板、律师Jack、大贵的发小大嘴轮番上场，各自争夺金佛，随着大贵的离奇死亡，误会和争夺持续升级。凶手究竟是谁，围绕着大贵的死亡发生了一连串离奇的故事，一场揭露人性丑陋的闹剧就此展开，随着疑团一层一层拨开，终究发现几拨人马被命运“黑色幽默”了一把。

　　伊莎贝尔·阿佳妮将重返荧屏，出演由路易-朱利安·珀蒂导演的电视电影《卡罗尔·马蒂厄》。这是阿佳妮与Arte电视台继2008年《裙角飞扬的日子》之后的又一次合作。
　　阿佳妮饰演的角色生活在一个职员饱受性骚扰之苦的社会环境中，本片也将致力于推动类似问题的解决。本片的制片公司是Elemiah films。

　　妈妈生了重病，住进了医院，现已生命垂危。此时，阔别已久的爸爸终于现身。他焦急万分，又犹豫不决，最终他别无他法，只能选择把一双儿女都带在自己身边。然而，在妈妈此前为孩子们造梦的基础上，爸爸又将如何实现孩子们对于梦之城堡的幻想呢？

　　影片讲述两个男人之间复杂的情感故事，gay社团律师马吕斯(Eimutis Kvosciauskas饰)的生活一直在流逝，他整日都在与朋友玩乐、追逐年轻的恋人。而当马吕斯疏远已久的父亲去世。马吕斯发现他与一名困在塞尔维亚贝尔格莱德的叙利亚难民、性工作者阿里(Doğaç Yıldız饰)有着意想不到的联系，哀悼也悄然间转变为了爱情。

　　这部作品描绘了在震灾中失去双亲的幼年姐弟们的想法，在孩子们担任审查员的第64届柏林国际电影节次世代部门，是继最高奖之后又一次获得特别奖的作品。
　　在震灾中失去双亲的12岁的春奈(大森絢音 )和5岁的翔太(大石稜久)。被亲戚家收养。年幼的姐弟俩，在没有整理心情的状态下，只有在新的环境下开始生活。不知道父母去世的事实，翔太日渐地想念着父母。春奈一直怀着对弟弟保守秘密和无法帮助父母的罪恶感。翔太率直的想法，开始一点点动摇着春奈的心.........

　　1960年捷克卡罗维发利国际电影节最佳导演水晶球奖。
　　Originally titled Seryozha, the Russian A Summer to Remember was co-adapted by Vera Panova from her own short story. War and Peace director Sergei Bondarchuk plays the new stepfather of young Seryozha (Borya Barkhatov). So close do the stepfather and the boy become in the months following their meeting that, when time comes for the boy to move on in life, he refuses to leave his new dad's side. Their summer idyll takes place on a Soviet collective farm, managed by Bondarchuk and depicted by novice filmmakers Georgiy Daneliya and Igor Talankin in the most glowing and apolitical of terms. Though there isn't much to the plot, the film admirably succeeds as a sort of cinematic tone poem.
　　From All Movie Guide: Russian filmmaker Georgi Daneliya ranks among his country's most popular directors of satirical comedies. The Georgia-born Daneliya comes from a distinguished family of film performers; his grandmother, Veriko Andzhaparidze, was a famed Georgian silent film actress, his cousin, Sofiko Chiaureli, is also a major actress, and his mother, Meri Andzhaparidze, spent more than a decade at Mosfilm Studios. However, he first chose to train as an architect (perhaps out of respect for his father, an engineer). Following his graduation in 1955, Daneliya worked only briefly in that field when he decided he'd rather be in films, enrolling in Mosfilm Studios' Directors' Courses in 1958. In 1960, Daneliya co-directed Seryozha/A Summer to Remember with Igor Talankin. Two years later, he made his solo directorial debut, Put K Prichalu/The Way to the Wharf (1962). His 1969 comedy Ne Goryuy!/Don't Worry! successfully blended humor and melancholy, a device that would become Daneliya's trademark. In addition to directing, Daneliya co-authors the scripts for his films and occasionally works on screenplays for other directors. Daneliya has won numerous national and international awards for his work. In 1964, his Ya Shagayu po Moskve/I Walk Around Moscow received an honorable mention at the Cannes Film Festival, while in 1975 Afonya received a special award at the All Union Festival, a major U.S.S.R. event. Daneliya's biggest hit in the U.S.S.R., Mimino (1977), earned the special prize at the Moscow International Film Festival and the U.S.S.R. State Prize. In 1991, Daneliya earned the Nika Award (the Russian equivalent to an Oscar) for Best Screenplay for Pasport (1990).