介绍：皮特（杰森·席格尔 Jason Segel 饰）是个音乐人，有个比他出色得多的女朋友莎拉·马歇尔（克莉丝汀·贝尔 Kristen Bell 饰），她是个当红电视明星皮特对她一片痴心当牛做马，但还是惨遭她的抛弃。备受打击的皮特经历了很久的消沉，还要整天在电视上看到莎拉的各种新闻，为了走出失恋阴影，他跑去夏威夷火奴鲁鲁度假，却恰好在酒店遇到莎拉和她的新男友。皮特感觉命运在捉弄他，不过此时他邂逅了度假村服务员瑞秋（米娜·古妮丝 Mila Kunis 饰），后者美丽、热情，愿意倾听他的不幸，还带他进入夏威夷的火热生活。皮特慢慢爱上瑞秋，但是莎拉又和新男友闹分手了，似乎有意愿向皮特回头……

介绍：前东德最好的一部超现实主义幻想剧！　　this is one of the most amazing looking,surreal films of all time and i only recently acquired it on video.it was just as good after fond childhood memories of it.highly recommended,with great special effects,and stunning set design,and vivid colour and cinematography.buy with confidence!　　This is as you remember watching it as a child. Lifelike, overtly coloured and full of magical splendor, terrifying nasties and surreal characters. In short, do not shy away from this opportunity to show a Christmas Special to your children in favour of the usual fare from Disney and co. Rather, pop a fresh batch of pop corn, get first dibs on the comfy chair and opt for what was arguably one of the highlights of East German children's programming.

介绍：作曲家米米与歌手维纳斯戏剧性坠入爱河然而爱情的消失从来不需要理由，无止尽的争吵让他们在七年后分开。维纳斯展开新生活藉以忘却悲伤；米米试图重新找回内心的平静，却被回忆挑的心魔纠缠抑郁而终。多伟大的爱情，才能超越生与死的界线？希腊神话中奥菲斯(Orpheus)前往地府拯救爱妻尤丽狄丝（Eurydice），维纳斯也下定决心找回失落的爱，趁一切还来得及之前……　　幕后花絮　　电影由德国电影奖最佳导演《欲望大酒店》海穆特迪特执导，制作团队横跨柏林、希腊与巴伐利亚，结合《阿拉伯的劳伦斯》团队大成本制作。《云雀山庄的情人》亮眼男星莫里兹·布莱与《控制》女主角阿历珊翠玛莉亚罗娜领衔主演。《香水》国际重量级作家聚斯金德编剧。

介绍：连姆（乔什·怀特豪斯 Josh Whitehouse 饰）和娜塔莉（弗雷娅·梅弗 Freya Mavor 饰）是性格大相径庭的一对男女，这两个本来八竿子打不到一起的人，却在机缘巧合之下相遇，并且迅速的坠入了情网之中，他们都认定了彼此是自己这辈子要携手度过的那个人，在激情燃烧的恋爱之后，他们很快就携手步入了婚姻的殿堂　　一晃眼十年过去，再摧残的爱情都禁不住这漫长时光的消磨，当连姆和娜塔莉之间的感情消磨殆尽之后，或许体面的结束是他们最好的选择了。在决定分开之际，他们开始分割财产，其中包括两人珍贵的音乐收藏，而在此过程中，熟悉的一首首歌勾起了他们对于曾经的回忆。

介绍：Based on an unknown Schönberg opera from 1929, From Today Until Tomorrow explores one night in a not-quite loveless marriage. A husband and wife return from a party where she has flirted with another man, while he has cast an appraising eye toward an attractive, fashionably dressed acquaintance of his wife’s. Though each dreams, briefly, of leaving the marriage for the excitement and mystery of a new lover, in the end they decide stability and comfort are more important than the fleeting thrill of new romance. Directors Jean-Marie Straub and Danièle Huillet, who previously collaborated on two other films about music (The Chronicle of Anna Magdalena Bach, 1968, and Moses and Aaron, 1975), rely on long fixed shots in austere black-and-white so that the focus remains on the musical brilliance of Schönberg’s atonal score, performed here by 70 musicians. That Schönberg would choose such a relatively lighthearted message for his newly discovered musical language remains a mystery, especially since the conclusion reached by the husband and wife—to stick with the tried and true—seems directly at odds with Schönberg’s own philosophy of composing. It is just this juxtaposition, however, coupled with Straub and Huillet’s faithful presentation, that makes the opera a compelling addition to the Schönberg canon—and the film such a challenging and intriguing experience.