介绍：经历了丧母之痛的少女丽贝卡，跟随父亲从英国搬到了耶路撒冷，希望这个新的开始能够帮助她从母亲突然离世的伤痛中走出来他们定居于一座老房子后不久，一连串神秘事件开始发生，而父亲怀疑是丽贝卡干的。丽贝卡开始深入探究房子的秘密以及耶路撒冷这座城的历史谜团，由此展开了一段神秘旅程，揭开了这座房子隐藏着的故事。

介绍：仙巴王子意外發現一幅奇怪的地圖，遂帶著侍女及馬拉比亞的首相揚帆出海，到達一處地圖沒有標記的國度邪惡的巫師古里想佔領馬拉比亞，並三番四次阻撓仙巴。仙巴必須面對重重難關，與古里作生死決鬥‥‥

介绍：帕尔米拉摄政王太后芝诺比娅反抗罗马，打败了罗马军队……但当她爱上敌军军官马可瓦莱里奥时，她犯了一个大错误

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!