介绍：一个有着神秘过去的男人逃离了这个国家，逃脱了自己的个人地狱-只是到达了一个更加糟糕得多的地方

介绍：公爵夫人蒂亚娜（埃玛·苏亚雷斯 Emma Suárez 饰）守寡多年，当她发现自己的文书特奥多罗（卡梅洛·戈麦斯 Carmelo Gómez 饰）和女佣马赛拉之间产生了感情时，蒂亚娜感到非常的嫉妒，决定拆散两人蒂亚娜将马赛拉关了禁闭，自己则写了很多情诗给特奥多罗过目，突然受到公爵夫人的如此礼待，特奥多罗自然感觉飘飘然，对马赛拉也开始忽冷忽热起来。　　富有的侯爵和公爵表兄同时都在追求蒂亚娜，蒂亚娜先是决定接受侯爵的求婚，这让特奥多罗感到非常的沮丧。然而，当侯爵带着彩礼上门求亲之时，蒂亚娜却又反悔了。蒂亚娜捉摸不透，但公爵和侯爵一直认为，她的善变正是特奥多罗引起的，他们决定联手除掉这枚眼中钉。

介绍：时值 1969 年圣诞佳节，天鹅绒坊即将转手，离职和在职的员工因而在马德里聚首，寻觅美好回忆、第二次机会和全新的开始

介绍：这部1961年拍摄，以罗马始祖埃涅阿斯为主角的意大利古装电影是唯一把海伦作为反面角色塑造的这个版本的海伦是个不折不扣的妖姬，本片大肆批判她和帕里斯勾搭。她不仅不悔改还试图勾引埃涅阿斯，以自己的美貌引起战事为傲。最后她还精心打扮以讨好墨涅拉俄斯保命，目睹他杀死帕里斯毫无表示。

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!