介绍：《激情之罪》讲述的是亚瑟和丽贝卡是一对情人，她们将制定一个计划，杀死丽贝卡的丈夫，夺得他的财产，一切局情为了这个计划而战……

介绍：一直以来，艾莲娜（Kelly Sheridan 配音）都过着无忧无虑的生活，整日和花朵仙女们、唱歌、跳舞，开心又自在。不幸的是，一场可怕的疾病传染了开来，花朵枯萎失去了往日的颜色，同伴们亦郁郁寡欢再也..

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介绍：反叛海盗塞尔扣克和自私，是希望，寻找宝藏在南部的海洋航行的英语帆船的驱动程式没有敌船，在土地娱乐博彩和塞尔扣克很快就已摘中国的现状和未来，储蓄他赢得了敌意和特别是船长的公牛，决定离开他在荒岛上的船员。那裡你应该埋葬他们渴望复仇和过度的野心和脸看世界的新途径。

介绍：Wunder der Schöpfung is an extraordinary, fascinating Kulturfilm trying to explain the whole human knowledge of the 1920s about the world and the universe. 15 special effects experts and 9 cameramen were involved in the production of this film which combines documentary scenes, historical documents, fiction elements, animation scenes and educational impact. It its beautifully colored, using tinting and toning in a very elaborated way. Some visual ideas in the sequences with a space shuttle visiting different planets in the universe seem to have to be the inspiration for Stanley Kubrick's 2001 A Space Odyssey.　　In the context of Germany's Kulturfilm phenomenon, Wunder der Schöpfung was among the greatest achievements of the 1920s. The production was constructed, rehearsed, and shot over a period of two and a half years, under the supervision of Hanns Walter Kornblum. The idea to describe the universe and man's place in it well suited UFA's Grossfilm mentality, one year before the Metropolis catastrophe. Hundreds of skilled craftsmen participated in the project, building props and constructing scale models drawn by 15 special effects draughtsmen, while 9 cameramen in separate units worked on the historical, documentary, fiction, animation, and science-fiction sequences. Without star roles or even protagonists, the film's plot is crowded with meticulously structured and skillfully acted single scenes an artful mosaic of small vignettes. No less than four credited university professors ensured the factual background behind the scientific and historical events portrayed.　　The film's symbol of progress and the new scientific era is a spacecraft, travelling through the Milky Way, making all the planets and their inspiring worlds familiar to us, with the extravaganza of their distinctive features. The film's educational intentions, however, become steadily more obscure, humorous, or even campy as this popularization project proceeds. With the excuse of presenting the end of the world a not-so-new concept as a new, undeniably scientific truth, the film veers happily along a new path, displaying detailed apocalyptic scenes of the end of mankind. For today's audiences, this amazing film demonstrates how the universe was comprehended in the 1920s, and how that view was sold to contemporary audiences.