选举日

　　十二岁的阿曼达是一名游泳运动员。她非常安静而又内向，着迷于游泳，因为她在水下全然的私密空间中找到了独一无二的安全感。阿曼达没有父母关心，于是把大部分时间都泡在游泳池里，不断训练。也许游泳是她唯一一件真正喜欢做的事，她想要做好，想要成功。普莉希拉是游泳队里的明星，现在却成 为了阿曼达的对手。她们之间的较量从泳池拓展到了生活中的方方面面，一场微妙的角力就此拉开序幕。

　　2008～09年に放送されたスーパー戦隊シリーズ第32作「炎神戦隊ゴーオンジャー」の10年後を描いたVシネマ。公害をまき散らす蛮機族ガイアークから人間の世界ヒューマンワールドを守るため、機会生命体「炎神（エンジン）」の力を得て戦ったゴーオンジャー。あれから10年、他のブレーンワールドからの侵略を完全に遮断する「鎖国バリア」などの政策により、ヒューマンワールドにはかつてない平和が訪れていた。しかし、その一方で、ゴーオンジャーは鎖国バリアによって炎神たちと離れ離れになり、力を失っていた。そんな折、大翔が防衛大臣・野泉進一郎を狙って自爆テロを仕掛けたとして「戦隊活動禁止法」が可決され、ゴーオンジャーは悪のテロリストとして世間から恐れられる存在になってしまう。そんな彼らの前に、特別警察から追われる謎の少年・走児が現れ……。

　　Defying the moral constraints of Victorian England and her parents, a young woman engages in unbridled promiscuity with two partners before setting out to capture the fuller sensuality of life itself. Based on the 1915 novel by D.H. Lawrence.

　　墨西哥城高檔酒店內，年輕女傭自有心事。日復一日的漫長工作，總有打掃不盡的房間。她長途跋涉上班，無法照料年幼兒子，卻要幫客人看顧小孩。參加進修班，望能晉升到尊貴樓層。偶然拾獲紅裙，盼失物無人認領可據為己有。抹窗工人隔窗傳情，她其實更需要找到女性自我的聲音。來自劇場的阿維萊絲首拍長片即備受注目，以紀實眼光看打工女的生活與生存，發掘角色沉靜外表下的豐富情感，暗暗接通戴丹兄弟和艾方素卡朗的《羅馬》（2018）。

男主跟妻子本来很恩爱，但随着时间推移，妻子渐渐将更多的精力投入到工作，而为了在公司获得更多的机遇，她不惜献身，穿上各种诱惑的衣服勾引公司高层，而男主在性方面得不到满足，将目光聚焦在了小姨子身上，常常还出现幻觉，看到了小姨子的身体，终于，他在一次跟小姨子醉酒后对小姨子实行了强奸，而小姨子也半推半就，就在二人热火朝天的时候，妻子跟她的情夫回到家中，看到了这淫荡的一幕…

　　这部电影描述了一位作家哈蒙（John Cassavetes饰）和他的妹妹莎拉（Gena Rowlands饰）生命中的几天。电影中的大部分情节都是在哈蒙的家里发生的，他们在生活中挣扎：哈蒙过着极其颓废的生活，靠酒、烟、以及一段段短期的和女人的关系度日：或者是工作关系认识的女人，或是娱乐场所认识的女人。他也是一个非常不称职的父亲，把自己12岁的儿子扔在酒店的旅馆里里，甚至还教他学喝酒。而他的妹妹莎拉因为她的疯狂的言行正在和自己的丈夫离婚，她的女儿想要和父亲生活在一起，这给她极大的伤害，几乎精神崩溃。在电影的结尾，莎拉离开了哈蒙的家，和另外一个男人在一起，而哈蒙走到银幕前给观众说再见，也和自己的生命告别。

　　Two differences between this Austrian version and the generally available American version are immediately obvious: they differ both in their length and in the language of the intertitles. The American version is only 1,883 metres long - at 18 frames per second a difference of some 7 minutes to the Austrian version with 2,045 metres. Whereas we originally presumed only a negligible difference, resulting from the varying length of the intertitles, a direct comparison has nevertheless shown that the Austrian version differs from the American version both in the montage and in the duration of individual scenes. Yet how could it happen that the later regional distribution of a canonical US silent film was longer than the "original version"?
　　The prevalent American version of Blind Husbands does not correspond to the version shown at the premiere of 1919. This little-known fact was already published by Richard Koszarski in 1983. The film was re-released by Universal Pictures in 1924, in a version that was 1,365 feet (416 metres) shorter. At 18 frames per second, this amounts to a time difference of 20 minutes! "Titles were altered, snippets of action removed and at least one major scene taken out entirely, where von Steuben and Margaret visit a small local chapel." (Koszarski)
　　From the present state of research we can assume that all the known American copies of the film derive from this shortened re-release version, a copy of which Universal donated to the Museum of Modern Art in 1941. According to Koszarski the original negative of the film was destroyed sometime between 1956 and 1961 and has therefore been irretrievably lost. This information casts an interesting light on the Austrian version, which can be dated to the period between the summer of 1921 and the winter of 1922. Furthermore, the copy is some 200 metres longer than the US version of 1924. If one follows the details given by Richard Koszarski and Arthur Lennig, this means that, as far as both its date and its length are concerned, the Austrian version lies almost exactly in the middle between the (lost) version shown at the premiere and the re-released one.A large part of the additional length of the film can be traced to cuts that were made to the 1924 version in almost every shot. Koszarski describes how the beginning and the end of scenes were trimmed, in order to "speed up" the film. However, more exciting was the discovery that the Austrian version contains shots that are missing in the American one - shots/countershots, intertitles - and furthermore shows differences in its montage (i.e. the placing of the individual shots within a sequence). All this indicates that Die Rache der Berge constitutes the oldest and most completely preserved material of the film.

　　尊尼在回家不幸撞上十八轮的大货车，死里逃生，昏迷了五年，在桑恩维萨克大夫的治疗下，终于醒了。撞伤后的尊尼，变成有奇特的超能力，不但能预测护士家失火，也能看到大夫的过去，顿成镇上的风云人物。

　　A scanner discovers a plot by renegade elements in the city government to take power with the help of evil scanners

　　British Army radiation drills at a remote Scottish base attract a subterranean, radioactive entity of unknown nature that vanishes, leaving two severely radiation-burned soldiers... and a "bottomless" crack in the earth. Others who meet the thing in the night suffer likewise, and with increasing severity; it seems to be able to "absorb" radiation from any source, growing bigger and bigger. What is it?? How do you destroy a thing that "feeds" on energy?

　　梅约（理查·基尔 Richard Gere 饰）是一名预备海军飞行员，一次偶然中，他和朋友希德（大卫·凯斯 David Keith 饰）结识了名叫保拉（德博拉·温格 Debra Winger 饰）和琳奈特（丽萨·布伦特 Lisa Blount 饰）的两位女子，四人共度了一段充满了快乐的时光。
　　训练营里的生活非常之苦，要命的是，梅约竟然落到了从来都是以严格著称的福里（小路易斯·格赛特 Louis Gossett Jr. 饰）手里，境遇可想而知。琳奈特一心想傍一个飞行管，而保拉却深深的爱上了梅约，可是为了自己的前途，梅约和保拉最终还是分手了。琳奈特怀孕的消息让希德放弃了自己的大好前程，决定和琳奈特共度余生，可是，琳奈特已经不想再理会如今只是一介凡夫俗子的希德，不仅如此，她怀孕的消息也系捏造。受到了深深伤害的希德选择了自杀，而目睹这一切的梅约则失去了对保拉的信任。

　　在一个与世隔绝的密林所在，坐落着全然封闭的小镇新伯利恒。18年前，在第六个月的第六天，有六个女孩降临人间，恰恰应了新伯利恒流传多年的预言，据说当这个“666”的数字出现时，魔鬼便将从黑暗中爬出，用它污秽邪恶的手侵蚀着这片光明的土地，荼毒纯洁无瑕的女孩。转眼到了当下，当时出生的女孩除了小罗丝被妈妈扼杀外，萨拉（丽亚·派普斯 Leah Pipes 饰）、阿比盖尔（Katie Garfield 饰）、玛丽（阿莉希亚·德布纳姆 Alycia Debnam Carey 饰）、汉娜（Nicole Elliott 饰）等人均在长老的看护下长大。
　　青春萌动的女孩向往外部的花花世界，与此同时，他们中间有人则相继失踪，恐怖的预言似乎正一点点兑现……