猪头逛大街

　　The Doll is an adaptation of the novel, The Doll (novel) by Bolesław Prus, which is regarded by many as one of the finest Polish novels ever written and, along with Pharaoh (novel), made Bolesław Prus a potential candidate for the Nobel Prize in literature. The influence of Émile Zola is evident, and some have compared the novel to Madame Bovary by Gustave Flaubert; both were Prus&♯39;s contemporaries. The movie, however, may be more compared to Stendhal&♯39;s Le Rouge et le Noir, (The Red and the Black).
　　The Doll constitutes a panorama of life in Warsaw between 1878 and 1879, and at the same time is a subtle story of three generations of Polish idealists, their psychological complications, their involvement in the history of the nineteenth century, social dramas, moral problems and the experience of tragic existence. At the same time this story describes the disintegration of social relationships and the growing separation of a society whose aristocratic elite spreads the models of vanity and idleness. In the bad air of a backward country, anti-Semitic ideas are born, valuable individuals meet obstacles on their way, and scoundrels are successful.
　　This poetic love story follows a nouveau riche merchant, Stanislaw Wokulski, through a series of trials and tribulations occasioned by his obsessive passion for an aristocratic beauty, Izabela Lecka, played by the famous Polish actress, Beata Tyszkiewicz.
　　Plot:
　　As a descendant of an impoverished Polish noble family, young Wokulski is forced to work as a waiter at Hopfer&♯39;s, a Warsaw restaurant, while dreaming of a life in science. After taking part in the failed 1863 Uprising against Tsarist Russia, he is sentenced to exile in Siberia. On eventual return to Warsaw, he becomes a salesman at Mincel&♯39;s haberdashery. Marrying the late owner&♯39;s widow (who eventually dies), he comes into money and uses it to set up a partnership with a Russian merchant he had met while in exile. The two merchants go to Bulgaria during the Russo-Turkish War of 1877-78, and Wokulski makes a fortune supplying the Russian Army. The enterprising Wokulski now proves a romantic at heart, falling in love with Izabela, daughter of the vacuous, bankrupt aristocrat, Tomasz Łęcki. In his quest to win Izabela, Wokulski begins frequenting theatres and aristocratic salons; and to help her financially distressed father, founds a company and sets the aristocrats up as shareholders in his business.The indolence of these aristocrats, who secure with their pensions, are too lazy to undertake new business risks, frustrates Wokulski. His ability to make money is respected but his lack of family and social rank is condescended to. Because of his "help" (in secret) to Izabela&♯39;s impecunious but influential father, the girl becomes aware of his affection. In the end she consents to accept him, but without true devotion or love.(wikipedia)

想生孩子的加奈子（Kanako）迎接排卵日。 她向丈夫求婚，但遭到拒绝。 与丈夫再婚后，加奈子对他的冷漠不满意。 在白天，她在厨房里自慰，继子厚实看到了它。 当厚史停止观看加奈子自慰时，她本能地兴奋了。 他试图找到异性，但陷入了加奈子的大胆行动。 淳史几乎没有平静下来，在房间里睡着了。 但是与他无关的加奈子 他进入厚史的房间，开始触摸他的阴茎。 然后，他兴奋地说他需要精子。 涉足加奈子的厚史征服了她的身体。

Baby Let’s Do It

　　一个去世议员的家人无意中发现了议员的一件遗物——一卷8毫米的影片，里面竟然有女孩被虐杀的整个过程，于是交给了一名私家侦探汤姆威勒（Nicolas Cage尼古拉斯•凯奇饰）调查真相。汤姆威勒本来平静的生活开始危机四伏。
　　汤姆威勒一步步破解真相的过程，亦是一步步陷入泥潭的过程。但是影片中陌生女子的受虐惨剧在他脑中挥之不去。良心促使他在凶险的真相面前变得无惧。
　　但当真相揭露之时，世间的丑恶不堪得令汤姆威勒也陷入了惊恐……

　　吉约姆·卡内、薇儿拉·贝坦丝([破碎之家])、安东尼·巴容([祈祷])主演，爱德华·贝尔容(Edouard Bergeon)执导[以地球的名义](Au nom de la terre，暂译)本周已在马耶讷开机。故事描绘了一个近40年的家庭传奇。1982年，皮埃尔离开美国，回到马耶讷的家中，买了该地区最美丽的农场。多年来皮埃尔和妻子克莱尔经营着农场业务。但是幸福时光下，这对夫妇还必须与债务和疲惫作斗争。

　　该片讲述意大利连锁餐厅Tuscan Grove位于加州贝克斯菲尔德的加盟店经理艾梅柏(布里饰)，赢得了一个前往该公司位于佛罗伦萨郊外的华丽的“研究所”的全额费用旅行的机会，同时还可以与连锁餐厅的老板(尼沃拉饰)见面。当艾梅柏与一群不相配的美国当地加盟店的经理们在一起时，这场旅行与自己想象中的浪漫之旅完全不一样。

　　百年之前，一系列的连锁巨变摧毁了多数的地球文明，将世界带入了无尽的黑暗时期。剩余的幸存者试图回到过去改变引起这一切毁灭事件的进程。

　　梅多斯小姐（凯蒂·霍姆斯饰）是个温柔而规规矩矩的普通小学教师，其完美的仪态和漂亮的印花连衣裙下却隐藏着一个不为人知的秘密——在没有教学任务或打理她的花园之外，她竟作为一个持枪维持治安的私刑独行侠。可是，在与小镇警长（詹姆斯·巴奇·戴尔饰）步入浪漫之后，她开始纠结......

　　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.

逃脱囚禁 （1992） 一名罪犯越狱，并很快回到了他的老路上。

　　管道工接到报告说某个住满底层群众的筒子楼水管崩裂，去勘察时发现大楼豆腐渣工程即将在24小时内倒塌，于是通过母亲好友联系到女镇长，女镇长和手下考虑了自身利益，又经扶植女镇长上位的经济操手怂恿，大家决定放弃转移大楼中的820名住客并暗中杀害了两个头头当做替罪羊。
　　其中被杀的 负责建筑的头临死替管道工求了情，允许他闭嘴带着家人远走他乡，管道工心中良心未死，不听父母及妻子的劝告执意去救人……