The history of Danish country church architecture is told by showing scenes of how the church was used by the congregation, beginning with the celebration of mass in a small and simple wooden church 800 years ago, and ending with the congregation singing in a village church of to-day. The development and the growth of the pattern of church architecture is shown.
　　Dreyer in this film shows a series of churches from different periods with churchgoers in period clothing. Each period is separated by a shot of a church bell double-exposed on the sky. Although the film has a vibrant and instructive way of communicating the different epochs and styles to students, it does not exhibit the artistic quality that usually distinguishes a Dreyer film, except perhaps in some of the costumes, which were originally made for Day of Wrath.
　　The board of Dansk Kulturfilm in autumn 1945 decided that their planned church film would exclusively be about village churches. Dreyer would rework the script that was written by editor and folk high-school principal Bernhard Jensen, aided by a committee of experts consisting of architect H. Lønborg-Jensen and Victor Hermansen, curator at the National Museum of Denmark. Dreyer had a first draft ready in mid-March, entitled Kirken er et gammelt Hus ("The Church Is an Old House"), which was distributed to the members of the committee for their comments.
　　In the last half of July, Dreyer and Victor Hermansen travelled the country to look at suitable churches. They researched the details and at Dreyer’s request a number of technical changes were made to the churches, including the removal of porcelain holders for electrical wiring in Tveje Merløse Church.
　　On 4 July, Dreyer went in advance to Ringkøbing. Shooting was set to start a few days later with the arrival of the director of photography, Preben Frank, who had fallen off a ladder and broken his leg, Fortunately, he was ready to cautiously start working again within a few days, with his leg in a cast.
　　Otherwise, the production went without a glitch. Everywhere, Dreyer said, they were well received at the vicarages and they had no problem getting enough extras. On 1 august, they returned to Copenhagen with almost all their footage in the can. They only needed to film the church in Skelby, where the weather had been against them, plus a Swedish wooden church in Hedared. The economy was distressed so soon after the war, especially when it came to foreign currency, but there were no real wooden churches left in Denmark and building an interior set in the studio would be too expensive.
　　The finished film was shown for the first time on 24 September 1947 to a small, closed circle, which included the Minister for Ecclesiastical Affairs. In December 1947, as was Dansk Kulturfilm’s standard practice, the film was presented to the press, politicians and others on a programme with four other short films.

　　A cautionary tale told in three contradicting accounts; this is a story of a broadcasting student who discovers the shady truth about the TV reporter he idolizes.

　　代表葡萄牙参赛奥斯卡的《一千零一夜》二部曲《一千零一夜II：孤独之人》，不同首部曲的天马行空，改以沉稳的叙事反映社会现实，透过小狗「迪克西」的角度，看尽现代人的冷漠与伪善， 富饶趣味地包装社会议题，同时为寂寞带来全新语言。狗儿充满灵性、惊喜的表现，毫无悬念地夺得本届坎城影展「狗狗金棕榈」奖，超级吸睛。

　　马库斯·拉森是一名建筑师，也是一家之主。鲜为人知的是，他有双性恋倾向，而他的妻子克里斯汀和他们十一岁的女儿伊丽莎白一直都活在无法忍受的孤独之中。当马库斯见到他同事十二岁的儿子时，他对他一见钟情了。渐渐地，马库斯开始接近约翰内斯，并和他有了暧昧关系，但事情逐渐脱离了他的掌控。他们的这种关系使马库斯的妻子和女儿备受折磨，但约翰内斯操控着自己的秘密游戏，最终给每一个家庭成员都带来了灾难。（豆瓣电影字幕翻译2.0小组）

　　一个新变的狼人被一组吸血鬼猎人招募，要将世界从一个纳粹吸血鬼首领中解救出来。

　　农夫托马斯·阿龙索是一个有点自闭的农夫，只有到了夜晚，他才会拉起心爱的小提琴。1948年的一个雨天，委内瑞拉高地上，托马斯和他12岁的儿子圣地亚哥一起埋葬了妻子。回到家中，他找出了妻子唯一的一张照片，那是她年轻的时候在一个美丽的海岸拍下的。圣地亚哥一边端详母亲的照片，一边让爸爸给他讲述海的故事，从未离开高原的托马斯只得将自己想象中完美的大海描述给儿子。从此父子俩便开始用自己的方式和想象建造梦想中的人间天堂。与此同时，影片的另一条线索也随之展开，一个专门拍摄人像的摄影师来到了高原。醉醺醺的他阴差阳错的走到了托马斯和圣地亚哥的小房子，托马斯帮助他找回了卡车。当摄影师打开他的旧幕布时，圣地亚哥发现了这个熟悉的海景。为了感谢他们，摄影师答应他们会再回来为他们在这块大海的幕布前拍照。
　　影片的结尾是圣地亚哥在众人面前开起了父亲的玩笑，托马斯终于不再自闭，欣然接受了儿子的戏弄。父子俩慢慢变得开朗，快乐起来，他们也不再为孤独而烦恼痛苦了。

　　Stella怀抱着十分激动的心情进入大人们的世界。然后她发现姐姐和精神榜样Katja在一起隐瞒进食障碍症。这场病慢慢地侵蚀着她们家庭的和谐。这是一个讲述隐藏在微笑、温暖之下关于嫉妒、爱、背叛的故事。

　　第二次世界大战期间，德国占领苏联大片领土，准备试验飞弹，袭击莫斯科。苏联飞行员Grivtsov、副驾驶Linkov和无线电操作员卡佳受命侦察敌情，飞机被击落，两位飞行员被俘。Linkov叛变，Grivtsov成功地逃离战俘营。他们现在必须完成作战任务，回到他们赖以生存的祖国......

　　改编自Ajin Panjapan同名短篇小说，故事主要以作者前半生（二战后）生活的泰南採矿营地为背景。该片曾入围第78届奥斯卡最佳外语奖竞赛单元。

　　The lives of Mouna, a weather scientist who falls in love with Yaazhan, a quirky and loving guy. What happens to their relationship after a couple of years and how things take an unexpected turn after the arrival of Malarvizhi?

　　本片是80多岁高龄的德国电影大师爱德嘉·莱兹对其史诗系列作品的总结，亦是其电影人生的总结。影片的原始素材来自于其往年自编自导的现代德国史诗《故乡》三部曲剧集，而现在，这部大气磅礴的史诗则被搬到了电影银幕上。导演以强烈的黑白影像风格与冷峻的笔调，通过一个德国农村里农民生存的故事，向我们展示了德意志民族的人性、历史、文化等方方面面。静心感受一次涤荡灵魂的净化之旅，绝对会让你受益良多，更何况还有另一位德国电影大师赫尔佐格的友情出演。
　　2014年第64届德国电影奖最佳导演、最佳剧本、杰出故事片。

　　影片讲述了发生在1965年到1973年俄罗斯军事人员在支持越南战争中遇到的事情，保罗是从莫斯科调至越南战场的俄罗斯士兵，在战场中他发现了队伍里出现了叛徒，原本想揭穿阴谋，但保罗自己却陷入了别人设好的圈套。为了证明自己的清白，保罗踏上了一条意想不到的道路……

　　二十年前，金哥一家三口从闹饥荒的村子里逃出来，母亲给他留下了“向前找路”的信念。二十年后，金哥（金焰 饰）长大成为一个生性乐观、不怕艰难的青年，他在城市里做工结识了五个青年——刚强的老张（张翼 饰），聪明的郑君（郑君里 饰），粗笨的章大，有志气的小罗（罗朋 饰），千灵百 怪的韩小六子（韩兰根 饰）。因为受到欺侮剥削，六人决定另谋生计，去修筑一条重要的军用公路。在村口的饭馆里，他们认识了两个美丽的女子——丁香（陈燕燕 饰）和茉莉（黎莉莉 饰），几个年青男女日渐结下了深厚的友谊。
　　随着军事形势日益紧张，日本帝国主义加紧对中国的侵略，金哥号召大家加紧修筑公路帮助军队对抗敌人。另一方面，敌人收买了汉奸要求停止修筑公路。于是，金哥等六人被请去了胡帮办，胡老爷对金哥他们进行威迫利诱，要么收下洋钱终止筑路，要么挨鞭子等死……

　　泰国女孩小樱（楚缇玛•提潘娜特Chutima Teepanart 饰）和小棉（贾琳珀恩•朱凯特Jarinporn Jookiat 饰）是一对好友，出于不同的目的，两人决定结伴到欧洲修学旅行。身处他乡，两个女孩享受着异国的美好与新奇，并结交了形形色色的朋友，同时也经历着生存与奋斗的种种艰辛，忍受着孤独与思念家人的煎熬。在彼此的互相扶持下，小樱和小棉一路走过了伦敦、巴黎和威尼斯。在旅行中，单纯柔弱的小棉逐渐坚强，并从失恋的阴影中走了出来，个性强烈的小樱逐渐学会理解并包容他人，而她所拥有设计才华也逐渐被挖掘出来。
　　原本看似不会结束的旅行，却因为一场意外戛然而止，受牵连的小棉被遣送回国，小樱自责不已，担心小棉不肯原谅自己。最终，当小樱回到家乡，机场迎接她回国的亲友之间，会不会出现小棉的身影呢？

　　1986年，瑞典国家健康与福利部委托导演罗伊·安德森就艾滋病题材拍摄一部教育影片，以便在学校和军队向学生和新兵传播艾滋病源头和防御的信息。但在电影拍摄期间，健康与福利部要求安德森终止该项目。原因是他们观看了已拍摄部分的素材，并对影片里信息的可靠性和拍摄风格提出了质疑。安德森并未遵循，而是凭几之力完成了该部电影。
　　关于艾滋病的起源，影片采用了阴谋论式的论调。在它的描述中，艾滋病病毒并非起源于非洲并由动物传播给人类，而是由美国科学家在实验室中创造出来，并随后应用于人体实验。今天，这部电影被看做是罗伊·安德森个人风格形成中的重要一步。

　　马塞洛（让-路易斯·特林提格南特 Jean-Louis Trintignant 饰）是意大利法西斯组织的一员，他的新任务是到巴黎除掉他以前大学时候的教授 卢克·夸德里（Enzo Tarascio 饰），一个反法西斯组织的成员。于是马塞洛以和未婚妻朱利亚（斯蒂芬尼娅·桑德雷莉 Stefania Sandrelli 饰）到巴黎度蜜月为借口，到教授家拜访。和马塞洛一起执行任务的还有伪装成他的司机的曼加涅略（Gastone Moschin 饰)。在教授家，马塞洛被教授的年轻妻子安娜（多米尼克·桑达 Dominique Sanda 饰）深深吸引。马塞洛的同伴曼加涅略不断催促他除掉教授，然而他迟迟不愿下手。曼加涅略得知了教授和他的妻子将到野外去，于是准备独自进行刺杀任务......
　　本片根据意大利小说家阿尔贝托·莫拉维亚的同名作品改编。

　　弗朗哥统治时期的西班牙马德里，女童安娜（Ana Torrent 饰）与两个姐妹在军官父亲安赛莫死后被过继给姨妈抚养，安塞莫在世时风流成性，母亲玛莉亚（Geraldine Chaplin 饰）为他放弃事业最后落得在寂寞压抑的生活中痛苦不堪，早早去世。关于母亲的记忆不时浮现在安娜脑海，这些记忆混同她对死亡的臆想慢慢影响了现实生活。姐妹三人在姨妈的看顾下并不安分，姨妈正陷入一场同安赛莫已婚战友的恋情，安娜的举止让她愈发感到威胁。安娜试图用一瓶所谓毒药帮助生活不能自理的祖母自杀，而那瓶物事不过只是苏打，祖母拒绝服毒，安娜又将目标对向了姨妈……
　　本片获1976年戛纳电影节评审团大奖等多项褒奖。

　　十部必看的希腊电影经典之一。如果想了解希腊文化尤其是音乐此片必看。1984年柏林电影节最佳导演银熊奖。
　　Considered to be one of the most powerful and emotional Greek movies, Rembetiko focuses on the life of an individual woman,a real person and through her personal story, it retells the story of Greece,from 1920 to 1955:the national disaster in Asia Minor,the one million refugees who came to Greece,the World War II,the Nazi occupation,the Civil War.The tragedy and the glory of a nation during the century.And all these bound with the music of rembetiko,the music of the outcasts.Great direction,great performances,great music.A voyage to history of the first half of the 20th century, but also a voyage to the origins of rembetiko.Realistic and dreamy.An original Greek epic.

　　这是导演的成名之作，罗伯特自掏腰包拍了这部低成本的黑色电影，结果一炮而红。影片讲述的是一名心狠手辣的罪犯成功越狱后，来到小镇伺机找他的仇家报仇，仇家的手下只知道那个罪犯将武器藏在吉他盒子里随身携带，而从来都没有见过他本人。一名流浪的吉他手（卡洛斯•加拉尔多 Carlos Gallardo 饰）凑巧这时来到小镇谋生，于是，莫名其妙的他就被卷入了一场不知所谓的追杀中。追杀的场面被导演演绎的笑料百出，黑色幽默表现的淋漓尽致。

　　故事的主角是一个长期流亡苏联的共产党人。在希腊军政府倒台后，于处人生暮年的他终于可以回归故乡。当他以如此矛盾而又暧昧的身份，再回到记忆中熟悉的地方，再面对家人与朋友时，他感觉到了人情的疏离，对未来的盲目，对于祖国低度的认同与漠视。人们企图卸下记忆的承重，却又害怕轻得迷失 方向。在这样的环境下，他意识到自己已经真正失去了国籍。最终，和他离别多年的爱人漂在爱琴海中的浮岸上。

　　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).

　　教授艾玛拉斯（爱米尔·强宁斯 Emil Jannings 饰）执教于一所校风严谨规矩繁多的学校中，他自己的性格亦是如此，一生都循规蹈矩的他最看不惯的就是学生们桀骜出格的举动。一次偶然中，艾玛拉斯得知自己的一群学生要去看歌舞表演，怒不可遏的他当即决定前往剧场将这些不守规矩的黄毛小子们逮个正着。令教授意想不到的是，他的这一举动将永远的改写自己余生的命运。
　　劳拉（玛琳·黛德丽 Marlene Dietrich 饰）是剧场里的万人迷，几乎所有的男人都情不自禁的拜倒在她的石榴裙下，艾玛拉斯教授也不例外，当他在剧院里第一次见到劳拉时，便陷入了对她深深的迷恋中无法自拔。经过苦苦的追求，劳拉终于成为了艾玛拉斯的新娘，两人之间悬殊的个性和地位也为将要发生的悲剧奠定了基调。

　　城市日益扩张、地产遍地开花的大环境下，马家祖屋的老住户们都住进了商品房。马伯夫妇却坚持住在老屋里面。地产商看中了老屋，欲征收改造成集民俗和餐饮一体的商业空间。马伯不愿意把祖上传下的基业交给别人。地产商软硬兼施，威逼利诱。马伯却不为所动。女儿马文文是传媒精英，对爸爸坚守传统文化的毅力感动，遂以客家文化为内容策划纪录片，并为老屋申请文化遗产保护。父女俩与地产商展开斗智斗勇的行动。

　　The story offorty-something, out-of-work washing machine repairman Rudy. He decides to takeback control of his life after a bad patch, but he notices with bitterness thatthose he abandoned along the way are not ready to welcome him with open arms.While the demons from the past come knocking at his door, a chance encounter onthe Internet will change the course of his life.