介绍：本剧根据H.E. Bates 同名小说改编《窗外有蓝天》、《此情可问天》、《长日将尽》原班制作搭档再一经典之作！　　这是一段发生在十九世纪末叶英格兰的爱情故事,一位女子无意中介入一家人的生活,并出人意料地决定嫁给其中的儿子。 但是,无法逃避的过去始终缠绕着她,曾经山盟海誓而最终弃她而去的情人又来到了她的身边,他的出现引起了一连串的事件……

介绍：萝拉·蒙蒂斯是19世纪欧洲贵族的宠妓，在马戏团里兜售自己的艳史，这似乎是她为放纵付出的代价这是奥菲尔的最后一部电影，影片以此作为框架，用闪回拼贴的方式表现箩拉巡回欧洲各国表演记忆，尤其她与巴伐利亚的路德维系国王以及作曲家李斯特之间的关系。

介绍：阿根廷版的“罗生门”受黑泽明《罗生门》的影响很深，尤其表现在摄影镜头的运用上非常像，讲的是从一件离奇谋杀案中找出真凶的故事，但也有自己的特点。影片改编自阿根廷奇幻文学大师Marco Denevi的短篇小说，由著名剧作家Mario Soffici执导，是一部经典的阿根廷电影。1959年嘎纳最佳影片提名。

介绍：本片由五个短片组成，改编自20世纪初美国著名短篇小说家欧·亨利O. Henry的五部短篇小说：The Clarion Call 嘹亮的号角（1908年）、The Ransom of Red Chief 红毛酋长的赎金（1910年）、The Gift of the Magi 麦琪的礼物（1905年）、The Cop and the Anthem 警察与赞美诗（1904年）、The Last Leaf 最后的常春藤叶（1907年）

介绍：This utterly gorgeous Gothic melodrama would be widely hailed as a masterpiece, had it not been made in Italy during the Mussolini regime. A gross injustice, as Malombra - unlike Piccolo Mondo Antico, Mario Soldati's earlier film of an Antonio Fogazzaro novel - contains not one moment of triumphalist flag-waving or Fascist family values. Oddly akin to Rebecca in its atmosphere of death-haunted romance and voluptuous doom, it reaches a peak of visual refinement of which Hitchcock could only dream.　　Its star is Isa Miranda (famous, and not without reason, as Italy's answer to Garbo and Dietrich) playing a headstrong but unstable young noblewoman, confined by her uncle to a gloomy villa on the shores of Lake Como. A yellowed and crumbling letter, found in an old spinet, convinces her that she is the reincarnation of her uncle's first wife - another troubled beauty who died a virtual prisoner after being caught in a forbidden love affair. When a handsome young writer (Andrea Checchi) comes to stay, Miranda decides that HE is the reincarnation of the dead woman's lover. Gradually, she lures him into her web of sex and revenge...　　What more to say without spoiling the fun Miranda gives a performance to rival any of the great divas of Hollywood. Only Davis and Stanwyck, perhaps, could play a bad girl so boldly without losing all sympathy. The evocation of 19th century aristocracy, in its full decadent splendour, is visually and dramatically flawless - a model for such later Italian gems as Visconti's Senso and The Innocent.　　It helped, perhaps, that Soldati himself was a leading novelist. Blessed with an absolute respect for the classics he adapted, but in no way inhibited by them. He was also the guiding spirit of the now-forgotten 'calligraphic' movement, which brought the Italian cinema to such wondrous aesthetic heights during World War Two, only to collapse before the horror of Neo-Realism. Can we blame Soldati for giving up film-making in disgust and going back to writing novels　　So if you've ever felt (as I do) that Rossellini's much-touted Rome - Open City is the work of an amateur...well, Malombra is the film you have to see!