介绍：A young boy becomes trapped inside America's rigid immigration process. Feature adaptation of the 2016 short film, 'Icebox'.

介绍：Walter Neff（弗莱德·麦克莫瑞 Fred MacMurray 饰）是一个成功的保险代理人，他在夜里回到办公室，开始在一个录音机上诉说他的故事......　　Neff为了取得Dietrichson先生的保险代理权，来到了他的家中，Dietrichson先生不在，Neff遇到了Dietrichson先生的新妻子Phyllis Dietrichson（芭芭拉·斯坦威克 Barbara Stanwyck 饰）美丽的Phyllis让Neff感到不自然，而她也开始说起她的丈夫的诸多不好之处。在第二次拜访中，Neff终于控制不住自己的欲望，愿意参与Phyllis的杀夫计划。Neff计划在Dietrichson先生坐火车的时候制造他失足摔下的假象，以骗取“双重保险”。一切进行的非常顺利，Dietrichson先生死掉了，Neff和Phyllis两人的爱情和金钱似乎都有了保障。然而，Neff的好友保险调查员Barton Keyes （爱德华·罗宾逊 Edward G. Robinson 饰）却觉得事有蹊跷，开始调查整个事件......　　本片改编自James M. Cain于1943年出版的同名小说，由导演比利·怀尔德和侦探小说作家雷蒙德·钱德勒共同编剧，获第17届奥斯卡最佳影片等7项提名。

介绍：二十集「九彩霸王花」，乃一个别具一格之田园式喜剧　　故事发生在香港新界一偏远围村杨老围内。四代同堂的余美君（苏杏璇）本与丈夫、儿孙媳妇，一家十口过着安逸平淡的宁静生活，怎料一次捉悍匪行动中，家中所有任职警界的男丁，同告殉职，遗下一班孤寡，顿失依靠。众女人被迫自力更生，但由于她们思想传统，行为保守，与现今社会的人和事、,均格格不入，因而引发出连串惹笑剧情……　　莫桂英（邵美琪）为家中辈份最低的孙媳妇，为人劳性，处事认真，加入警队工作后，与铁血干探李思祺（罗嘉良）产生微妙感情……　　杨家孙女杨八妹（陈淑兰）则乃傻大姐一名，借口出市区发展，到处乱闯，造成不少笑料，但令一直暗恋，照料在旁的环保使者王嘉明（何宝生）担心不已……　　另外英之家姑柴细玲（卢苑茵）作风豪迈，有男儿本色，与老差骨廖剑辉（楚原）针锋相对，成为冤家，后竟斗出真感情，而娇柔的二少奶潘春莲（胡美仪）亦因工作关系与戆直烧鹅店老板金大郎（骆应钧）朝夕相对而互生情愫……　　众女方面矛盾于不能撇除传统包伏，但又稳瞒美君，怎料美君早得悉一切……　　于此同时当悍匪重返，向思祺报杀弟之仇，令桂英牵连在重重危机中……

介绍：苏联卫国战争胜利后，军事法庭对战时曾出卖地下工作者的一女二男进行审判，并处以死刑审判引起了回忆……　　战争开始后，来不及撤出辛姆菲罗波尔市的一些著名演员利用自己的特殊身份，表面上对德国占领军曲意奉承，而暗地里却在剧院接头，散发传单，为游击队送药品。由于叛徒的告密，他们被捕了。面对着敌人的严刑拷打，他们坚贞不屈，最终惨遭杀害。

介绍：Fraught with over obvious symbolism, Hartley's early feature is nonetheless a joy to watch. Hal here shows us his uncanny ability to cast his characters perfectly came early in his career.　　Adrienne Shelley is a near perfect foil to herself, equal parts annoying teen burgeoning in her sexuality (though using sex for several years); obsessed with doom and inspired by idealism gone wrong she is deceptively – and simultaneously – complex and simple. Her Audrey inspires so many levels of symbolism it is almost embarrassingly rich (e.g., her modeling career beginning with photos of her foot – culminating her doing nude (but unseen) work; Manhattan move; Europe trip; her stealing, then sleeping with the mechanics wrench, etc.)　　As Josh, Robert Burke gives an absolutely masterful performance. A reformed prisonerpenitent he returns to his home town to face down past demons, accept his lot and begin a new life. Dressed in black, and repeatedly mistaken for a priest, he corrects everyone (I'm a mechanic), yet the symbolism is rich he abstains from alcohol, he practices celibacy (is, in fact a virgin), and seemingly has taken on vows of poverty, and humility as well. The humility seems hardest to swallow seeming, at times, almost false, a pretense. Yet, as we learn more of Josh we see genuineness in his modesty, that his humility is indeed earnest and believable. What seems ironic is the character is fairly forthright in his simplicity, yet so richly drawn it becomes the viewer who wants to make him out as more than what he actually is. A fascinatingly written character, perfectly played.　　The scene between Josh and Jane (a wonderful, young Edie Falco . . . You need a woman not a girl) is hilarious . . . real. But Hartley can't leave it as such and his trick, having the actors repeat the dialogue over-and-over becomes frustratingly arty and annoying . . . until again it becomes hilarious. What a terrific sense of bizarre reality this lends the film (like kids in a perpetual am notare too argument).　　Hartley's weaves all of a small neighborhood's idiosyncrasies into a tapestry of seeming stereotypes but which delves far beneath the surface, the catalyst being that everyone believes they know what the unbelievable truth of the title is, yet no two people can agree (including our hero) on what exactly that truth is. A wonderful little movie with some big ideas.