介绍：A young man Ivan travels in a carriage, and stops to rest in a remote castle somewhere in the lowlands. The castle is considered by locals to be haunted. The coachman doesn't want to carry on, so Ivan continues his journey by foot. A young kid who passes by tells Ivan about the castle, but the next minute the carriage kills him. Sibylle, a beautiful but strange woman comes out of the carriage and helps Ivan to carry the dead kid into the castle, which turns out to be her home. After her husband's death, Sybille lives there only with her coachman Bartholomew. Upon his arrival, Ivan starts to hear strange music coming from unknown place. Ivan and Sibylle fall in love with each other, but the mystery of music is yet to be find out.

介绍：19世纪：学者Karl Schiller认为他发现了Nibelungen的戒指，它拥有强大的力量 它在城堡德雷库拉。 他的双胞胎，弗朗茨，一个赌徒，问吸血鬼是否吓到了卡尔; 卡尔给了他一个埃及护身符，可以保护他。 弗朗茨拿着护身符，在他的哥哥前面，先到达城堡。 在那里，他找到一个伯爵夫人邀请他吃饭。 那天晚上，卡尔到了。 巧合的是，这是处女月亮之夜，五十年才来一次，从周围的村庄到城堡吸引五个处女，从此音信全无。 卡尔可以保护他的兄弟，找到戒指，并解救其中任何的女人吗？

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!