介绍：大楼倒塌开启了潘朵拉的宝盒，财团为求自保，将责任推给一位阿拉伯穆斯林土木工程师承担，阿布达拉必须面临七条人命及多达38项的指控心怀怨恨的他抛妻弃子加入圣战组织。蜜雪儿来自一个破碎的家庭，她不屈服于回教女性的传统，飙车、跳舞与婚前性爱样样来，当她意外怀孕却发现男友暴力底下的真面目。阿丽娜追求真主，一心成为圣战士，她被派往赛普勒斯执行一项秘密任务：炸弹客。当生死一瞬，揭开了三人交错的命运与救赎。

介绍：本片是苏联二战后摄制的第一部彩色影片，获戛纳电影节大奖和斯大林艺术电影奖最佳导演奖影片取材于俄罗斯民间故事，青年石匠达尼拉雕刻了一朵宝石花作为爱的信物送给自己的未婚妻，不料铜山女巫突然出现，施魔法诱惑了达尼拉……

介绍：Childhood sweethearts, Devdas and Paro grow up in a small village with a love-hate relationship which changes to love when they mature. Devdas' dad does not approve of his marriage or even any friendship with Paro, and sends him away to Calcutta where he is introduced to a dancer, Chandramukhi, who adores him and falls hopelessly in love with him. Devdas in not aware of Chandramukhi's affection and love for him, as most of his time is spent in a alcoholic stupor, and lust for Paro.

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!