介绍：电视台制作人杰瑞•哈尔福德与信心满满的青年兰斯•普雷斯顿（辛恩·罗格斯 Sean Rogerson 饰）合作，制作了一档名为《墓地邂逅》的灵异纪实节目，他自称年少时曾遭遇超自然现象，所以长久以来一直致力于揭示灵魂的真面目此次，他和他的团队来到了一家始建于1893年的医院——科林伍德精神病院，该医院曾受纳上千名病患，1963年因闹鬼被迫关闭。兰斯团队决定将自己反锁在医院8小时，通过摄像机以及其他高精仪器寻找鬼魂的蛛丝马迹。　　为了制造恐怖氛围，兰斯不惜弄虚作假，可是他很快发现这座医院真的有什么东西存在，他们将面临最为恐怖与难熬的不眠之夜……

介绍：Live Broadway cast production of Heidi Schreck's play presenting multiple facets, historical perspectives and personal experiences with the U.S. Constitution.

介绍：米基（格雷戈·金尼尔 Greg Kinnear 饰）是一位保险推销员，凭借着他的三寸不烂之舌，米基很快就在业内为自己打下了坚实的基础，很显然，目前的那一点蝇头小利早已经满足不了米基日渐扩大的胃口了，他正在积极寻找能够令他一步登天的机会　　为了躲避北方寒冷的天气，米基南下回到了久未谋面的妻子乔安（莉·汤普森 Lea Thompson 饰）身边，让米基没有想到的是，他竟然因此意外的看到了前程的曙光。退休的农场主哈尔（艾伦·阿金 Alan Arkin 饰）成为了米基向上爬的垫脚石，而锁匠蓝迪（比利·克鲁德普 Billy Crudup 饰）的出现意外打乱了米基的算盘，随着时间的推移，米基发现，自己已经再也无法支撑他所编撰的重重谎言了。

介绍：Meet the world's first 'cyborgs' - a quadriplegic, a blind man, an amputee, a bio-hacker, and a woman with Parkinson's - the scientists who help them, and one entrepreneur who will stop at nothing on his quest to unlock the brain.

介绍：The subtitle of Jean-Marie Straub and Danièle Huillet’s first feature, from 1965, “Only Violence Helps Where Violence Reigns,” suggests the fierce political program evoked by their rigorous aesthetic. The pretext of the film, set in Cologne, is Heinrich Böll’s novel “Billiards at Half Past Nine,” which they strip down to a handful of stark events and film with a confrontational angularity akin to Bartók’s music that adorns the soundtrack. The subtlest of cues accompany the story’s complex flashbacks. The middle-aged Robert Fähmel tells a young hotel bellhop of persecutions under the Third Reich; his elderly father, Heinrich, an architect famed for a local abbey, recalls the militarism of the First World War, when his wife, Johanna, incurred trouble for insulting the Kaiser. A third-generation Fähmel is considering architecture, just as the exiled brother of Robert’s late wife, returns, only to be met by their former torturer, now a West German official taking part in a celebratory parade of war veterans. Straub and Huillet make the layers of history live in the present tense, which they judge severely. The tamped-down acting and the spare, tense visual rhetoric suggest a state of moral crisis as well as the response—as much in style as in substance—that it demands.