介绍：一名警察在一次办案中陷入了一场风波。他接下来的任务是营救上级领导的女儿，在这个过程中会有一位女探员和他一同合作完成任务，警察是否可以顺利完成呢

介绍：体型臃肿、相貌平平的瑞诺（Nils Jørgen Kaalstad 饰）是一个专事工具书翻译的宅男，他大多数时间呆在家里，幻想着和性感美丽的女子共度春宵。但由于外貌和性格的原因，瑞诺的爱情始终没有着落，只能依靠漫画和自慰来排遣心中的寂寞，嗜酒如命的怪人费里普（Kyrre Hellum 饰）是他唯一的朋友。某天，瑞诺的父亲自作主张为他找来一个室友，那是个名叫马琳（Josefin Ljungman 饰）的瑞典女孩。她性感魅力，体型曼妙，沉迷性和烟酒，尽情享受20岁的狂放年华。瑞诺对马琳心有所属，却又无比自卑。在马琳的引领下，瑞诺逐渐走进这个年轻人的圈子，只是，心与心的距离能否就此拉近？ 本片荣获2009年挪威阿曼达奖最佳导演奖

介绍：少年阿賈一心嚮往到世界各地探險，但爸爸卻要他繼承手藝當裁縫師；神秘的鄰居爺爺以找回失散已久的孫女作為交換，出借飛翔魔毯給阿賈去實現夢想。帶著好友山羊拉雅，阿賈登毯高飛、飛向廣大未知的世界，經歷了精彩刺激的奇幻歷險，體會了友情與親情的難能可貴

介绍：Bender看到Cubert 和Dwight在玩《龙与地下城》的游戏时候大惊失色。在驾驶星际快递的飞船玩完碰碰车之后，Fry、Leela与教授遇见了老妈和她那三个儿子。突然天崩地裂一乾人等掉了下去，进入了一个幻想世界，Leela从洞里爬出来以后变成了半人马，Bender骑着大马一副骑士的扮相，教授成了法师，Amy成了水仙女的女王，而Zoidberg变成了一个大乌贼（只剩个脑袋和几根触手）。紧接着是半兽人乘坐袋鼠奔袭，以及搭云梯攻城的情节，骑士Bender、教授法师以及Amy女王负责守城。老妈和她的几个儿子变成了龙，为了抢骰子（十二面体）大打出手。 剧情中会有很多《龙与地下城》的典故。据说Fry会变成类似与咕噜（魔戒里面原名叫施密戈的霍比特人）的角色，但是从预告片里看，Fry的样子看起来还算比较正常

介绍：The issue of War widow representation in Israeli cinema is one of the most complex for the local industry for it seems to be unique and with a very local and specific iconography.　　The war Widow is a difficult character to digest. Because this is an especially painful topic in Israel, its mode of representation is almost always problematic.　　Gila Almagor in Tofano's siege is one of the first characters of the modern war widows to appear on Israeli cinema screens.　　The human and social complexity of the status of widows was not represented adequately and personally until her complex and fine appearance in this film.　　It was mostly Preceded by cliches of heroic women who have sacrificed for the nation with characters to which it was very difficult to get attached, nor to their personal grief.　　Siege was directed by an unknown Italian director of that period. Although Gilberto Tofano was brought as a professional director on the wings of inspiration made by the French New Wave of those years, he managed to turn out a very exciting work which has caught the Israeli warmth and sense of social siege which surrounds the Israeli widows, including the great expectations from them and the social stigmas.　　Tofano wrapped his leading lady with lots of warmth and gave a place of honor to Almagor's impressive presence in the film.　　This is without a doubt one of Almagor's best and most accurate performances. The restraint in her performance plus the shooting and expressive use of angles by Tofano and his soft European touch which was far off from the aggressive local product managed to produce a sense of documenting an authentic tragedy with a tangible personal touch that minimized the national dimension. The result stands the test of time proudly several decades after its creation.