介绍：在一场文学著作发表会上，一位女性坐在台前，朗读著书籍里的字句，抬头望见门口走进的男士，四目相望，勾起无限回忆。她是Rosario Castellano，上世纪墨西哥文坛最重要的诗人、作家，身为一位女性，长久以来致力为女性的权益、受父权社会压迫的群体而发声。在 1950 年代初期，当时还是位文艺少女的她遇上了年轻帅气的知识青年 Ricardo Guerra，两人步入婚姻有了共同的孩子，他成为哲学教授，而她则成为一位母亲、妻子与作家—这社会要求女性必须无条件地扮演好前两个角色，才有余地思考其余的事情。嗒嗒的打字机声响，成为原本相爱的两人最深刻的折磨，她如何在怀抱著文学创作梦与社会大众对女性角色的期待之间取得平衡

介绍：Spain, late 1980s. Newcomer Sara tries to fit in with the other teens in this tight-knit small town in the province of Tarrgona. If only she were more like her extroverted best friend, Rebe. They go out one night at a nightclub, on the way home, they come upon a little girl holding a doll, dressed for her first communion. And that's when the nightmare begins.

介绍：影片的主人公是年近30岁的5位年轻人，他们终日游手好闲，热衷于恶作剧并沉溺于梦幻般不切实际的计划里其中最年长的浮士德让最年少的摩拉德的妹妹桑德拉怀了孕，基于责任心及周围人的力劝而结了婚。浮士德在一家古董店工作，但因为恶习不改企图勾引店主的老婆而被解雇。一天，桑德拉得知浮士德带着一名舞娘到一家廉价的旅馆过夜，于是第二天她带着孩子离家出走；狼狈的浮士德第一次感到桑德拉的重要性。于是和她的兄弟四人拼命寻找桑德拉的下落，终于找到桑德拉的浮士德一边遭到父亲的痛斥；一边恳求桑德拉的原谅。见到二人重修旧好的摩拉德在次日清晨不辞而别，踏上了自己的旅程。

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!