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備注：已完結(jié)
類型：喜劇片
主演：卡拉·索薩 K·C·克萊德 本·奧圖爾 何塞·馬利亞·亞茲皮克 Pat
導(dǎo)演：Catalina Aguilar Mastretta
語言：英語
年代：未知
簡介：On the surface, Clara Barron seems to have it all a job as an OB-GYN; a great house in LA; and a loving family. But, the one thing Clara doesn't have figured out is her love life. Pressured by a family wedding in Mexico, Clara asks a co-worker to pose as her boyfriend for the weekend festivities,- only to be caught by surprise when her ex- boyfriend (and family favorite) suddenly shows up after disappearing from her life completely. Torn, Clara must decide between going back to the past or open her heart to new and unexpected possibilities.
備注：已完結(jié)
類型：劇情片
主演：Mina Farid 札伊亞·蒂哈 伯努瓦·馬吉梅爾 努諾·洛佩斯 克
導(dǎo)演：麗貝卡·茲羅托斯基
語言：法語
年代：未知
簡介：奈瑪（麗絲?洛米 Lise Lomi 飾）是一個(gè)天真而又單純的16歲女孩，暑假就要來臨了，和暑假一起來臨的，還有奈瑪 期盼已久的生日，過了這個(gè)生日，奈瑪將又向看似豐富多彩的成年人世界邁進(jìn)了一步。在這個(gè)夏天，一直在巴黎生活的表姐索菲亞（札伊亞?蒂哈 Zahia Dehar 飾）回到了奈瑪?shù)纳磉?，索菲亞和奈瑪見過的所有女孩都不同，渾身上下都散發(fā)著神秘的魅力。 奈瑪很快就被索菲亞給深深的吸引了，索菲亞的存在讓奈瑪和好友度度（克洛蒂爾?蔻洛 Clotilde Courau 飾）漸行漸遠(yuǎn)，甚至背叛了兩人之前的約定。在海邊，索菲亞邂逅了名為安德斯（伯努瓦?馬吉梅爾 Beno?t Magimel 飾）的男子，他散發(fā)出的藝術(shù)氣息令索菲亞深深著迷。
備注：已完結(jié)
類型：劇情片
主演：JoanaDarcFurtado LéaAlves AndreiaVi
導(dǎo)演：AdirleyQueirós JoanaPimenta
語言：葡萄牙語
年代：未知
簡介：主角蕾婭為我們講述了凱布拉達(dá)斯加油站的故事，如電影般真實(shí)的情節(jié)，在巴西聯(lián)邦區(qū)巴西利亞女子監(jiān)獄“蜂巢”的墻壁上回響。影片融合了紀(jì)錄片與劇情片的邊界，由非職業(yè)演員扮演自己，拍攝于具備強(qiáng)烈電影感的真實(shí)環(huán)境，燈火忽明忽暗、干旱地貌讓人聯(lián)想起西部片的氛圍，導(dǎo)演們堅(jiān)信：當(dāng)虛構(gòu)的東西被剝離，留存下來最重要的，就是最真實(shí)的生活。
備注：已完結(jié)
類型：劇情片
主演：楊雁雁 陳天文 安吉莉·芭雅妮 許家樂 Peter Wee Jo Ku
導(dǎo)演：陳哲藝
語言：漢語普通話,他加祿語
年代：未知
簡介：家樂（許家樂 飾）是個(gè)聰明卻調(diào)皮搗蛋被學(xué)校視為頭痛份子的小孩，懷孕的母親（楊雁雁 飾）每天在公司和家事兩邊忙碌分身乏術(shù)的情況下，還會(huì)接到學(xué)校的抱怨電話總是相當(dāng)無奈，最后只好找來菲律賓女傭泰莉（安吉莉·芭雅妮 Angeli Bayani 飾）來幫忙家事和照顧家樂。 一開始相當(dāng)排斥泰莉的家樂利用各種機(jī)會(huì)欺負(fù)她，但是為了要養(yǎng)家活口的泰莉只能努力在這個(gè)家庭里生存。家樂因?yàn)榘謰尭髯詿乐约旱氖虑闊o暇關(guān)注他的情況下，讓家樂和泰莉兩人逐漸產(chǎn)生越來越深厚的感情，但是小小年紀(jì)的家樂卻沒有發(fā)現(xiàn)家庭風(fēng)暴也日趨嚴(yán)重…… 而這是1997年，亞洲金融危機(jī)正在悄悄影響這個(gè)國家……
備注：已完結(jié)
類型：劇情片
主演：皮塞斯·欽 Chinnaro Soem Sovann Tho Jany
導(dǎo)演：卡芝維·尼昂
語言：高棉語
年代：未知
簡介：家園的拆遷讓金邊青年桑楠連續(xù)面對(duì)來自家庭、好友和社區(qū)的壓力，仿佛一切伴隨巨變，交織盤錯(cuò)著撲面而來。
備注：已完結(jié)
類型：劇情片
主演：法布萊斯·魯奇尼 西瑟·巴比特·科努德森 Eva Lallier 科琳
導(dǎo)演：克里斯汀·文森特
語言：法語
年代：未知
簡介：其貌不揚(yáng)的中年男人米切爾（法布萊斯·魯奇尼 Fabrice Luchini 飾），他的職業(yè)是巡回法院的庭長。在業(yè)內(nèi)，米切爾有著“兩位數(shù)庭長”的昵稱，因?yàn)榉彩撬?jīng)手的案件，被告人被判刑的年份均超過兩位數(shù)?！ ∵@一次，米切爾要面對(duì)一樁非常棘手的案件，案件中的死者，是一名年僅7個(gè)月大的嬰兒。在審理案件的同時(shí)，米切爾還要應(yīng)付自己頑固的感冒。陪審席上坐著形形色色的陪審員們，其中，一個(gè)熟悉的面孔吸引了米切爾的注意，她就是蒂特（西瑟·巴比特·科努德森 Sidse Babett Knudsen 飾），蒂特是一名醫(yī)生，曾經(jīng)照顧過生病主演的米切爾。蒂特的存在讓米切爾開始格外認(rèn)真的審視起這樁撲朔迷離，似乎另有隱情的案件。
備注：已完結(jié)
類型：劇情片
主演：薩姆·德·格拉斯 Francelia Billington 埃里克·馮
導(dǎo)演：埃里克·馮·施特羅海姆
語言：英語
年代：未知
簡介：Two differences between this Austrian version and the generally available American version are immediately obvious they differ both in their length and in the language of the intertitles. The American version is only 1,883 metres long - at 18 frames per second a difference of some 7 minutes to the Austrian version with 2,045 metres. Whereas we originally presumed only a negligible difference, resulting from the varying length of the intertitles, a direct comparison has nevertheless shown that the Austrian version differs from the American version both in the montage and in the duration of individual scenes. Yet how could it happen that the later regional distribution of a canonical US silent film was longer than the original version The prevalent American version of Blind Husbands does not correspond to the version shown at the premiere of 1919. This little-known fact was already published by Richard Koszarski in 1983. The film was re-released by Universal Pictures in 1924, in a version that was 1,365 feet (416 metres) shorter. At 18 frames per second, this amounts to a time difference of 20 minutes! Titles were altered, snippets of action removed and at least one major scene taken out entirely, where von Steuben and Margaret visit a small local chapel. (Koszarski) From the present state of research we can assume that all the known American copies of the film derive from this shortened re-release version, a copy of which Universal donated to the Museum of Modern Art in 1941. According to Koszarski the original negative of the film was destroyed sometime between 1956 and 1961 and has therefore been irretrievably lost. This information casts an interesting light on the Austrian version, which can be dated to the period between the summer of 1921 and the winter of 1922. Furthermore, the copy is some 200 metres longer than the US version of 1924. If one follows the details given by Richard Koszarski and Arthur Lennig, this means that, as far as both its date and its length are concerned, the Austrian version lies almost exactly in the middle between the (lost) version shown at the premiere and the re-released one.A large part of the additional length of the film can be traced to cuts that were made to the 1924 version in almost every shot. Koszarski describes how the beginning and the end of scenes were trimmed, in order to speed up the film. However, more exciting was the discovery that the Austrian version contains shots that are missing in the American one - shotscountershots, intertitles - and furthermore shows differences in its montage (i.e. the placing of the individual shots within a sequence). All this indicates that Die Rache der Berge constitutes the oldest and most completely preserved material of the film.
