介绍：本片根据让·德达的童话故事改编由让·伯特迈丝、米雪拉·库克罗瓦出演。　　两个女巫，母亲和女儿，把每天报晨的小公鸡给弄死了。结果是，太阳再也无法升起了。掌管太阳的好女巫到国王那里去寻求公正，国王做出了有利于她的宣判，于是惹恼了邪恶的女巫。她做出了一个诅咒，预言国王的女儿雅思娜公主会嫁给一个鞋匠。国王听后勃然大怒，可是现在也没法马上把公主嫁给一个贵族，于是，国王下令将公主关在城堡当中的塔里，这样，在国王不知道的情况下，她就不会见到任何人。　　但是，为了让诅咒实现，女巫叫来了一个邪恶精灵，让他哄骗一个鞋匠去做一副翅膀，有了这副翅膀的人都能飞起来。　　鞋匠戴上了这副翅膀，飞呀飞，飞过了田野和森林，最后落在了城堡的墙头上，在那里他遇见了被关起来的公主。他们立刻相爱了，并决定逃跑。　　起初，女巫和她的女儿都很高兴：诅咒实现了。但是当他们看到这对年轻人在一起无比甜蜜的样子，立刻变得愤怒起来。　　女巫和她的女儿伪装成两个贵妇人来到了市场里，他们看到，公主正在那里卖她所爱的鞋匠做的鞋。他们念起了咒语，把公主变成了一只鸽子，并关在了他们的地牢里。　　鞋匠开始出发去找公主，手里只拿着一只她的拖鞋。掌管太阳的好女巫过来帮他，给了他一只具有魔力的戒指，并把他引到了倒霉的公主那里。在与邪恶精灵一场惊心动魄的战斗之后，公主与鞋匠逃了出来。　　无意中，公主给鞋匠服了一剂女巫邪恶的安眠药，于是，鞋匠沉沉的睡去了。就在这时，公主被国王的士兵抓走了，回到了城堡里。国王正在计划马上将公主嫁给三个贵族王子中的一个。　　就在关键时刻，鞋匠来了。他闯进了婚礼的现场，并带着公主飞走了。此后，他们一直过着幸福的生活。

介绍：有些风流花心的流浪者马尔提恩（Ondrej Pavelka 饰）迷上了流动木偶剧团老板的女儿陶琪卡（Anna Málová 饰）他请全剧团吃饭，不过却因没钱付帐引发异常混乱，马尔提恩自己也被投入监牢。在狱中，他找到一件隐身衣，将狱卒戏耍了一番。之后他成功越狱，回到木偶剧团，但受到士兵的追缉。为了不连累艺人们，马尔提恩主动要求解救被邪恶的阿尔陶布拉恩提尼公爵（Juraj Kukura 饰）施下咒语的美丽公主阿陶莉彻（Julie Juristová 饰）……　　捷克1978年新浪潮代表人物之一乔拉•赫兹（Juraj Herz）执导的cult名作。

介绍：安娜（阿拉·拉里奥诺娃 Alla Larionova 饰）是出生在贫穷人家的女孩，为了自己的家人们能够过上好日子，安娜出卖了自己的灵魂和肉体，嫁给了名叫莫德斯特（米哈伊尔·扎罗夫 Mikhail Zharov 饰）的男人莫德斯特是一个彻头彻尾的小人，对安娜根本就没有真正的感情，在他的眼里，安娜不过就是一个可以任其宰割和操纵的傻女人罢了。　　虽然安娜十分厌恶莫德斯特的贪婪和无耻，但她并不敢做出越雷池半步的举动，当莫德斯特利用安娜的美貌获得了上司的认可步步高升之后，安娜突然意识到了自己的价值，并且一改从前对待莫德斯特唯命是从的态度，开始对丈夫进行无情的报复。

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!