主演：芳艳芬,任剑辉,谭倩红,少新权,萧仲坤,马笑英
导演：陆邦
简介：影片简介：香港粤剧电影《含笑饮砒霜》由龙门影业公司于1959年出品。该片由陆邦执导，芳艳芬、任剑辉、谭倩红、刘克宣、萧仲坤、马笑英等领衔主演。该片是龙门影业公司创业作，改编自名伶薛觉先同名粤剧。主要剧情是：尹桃红被养母逼嫁黄百坛，尹桃红与爱人程一往欲服毒殉情，黄百坛却误饮毒酒身亡，尹桃红为救程一往承认杀黄百坛。程一往偶然救助巡按女儿，巡按感恩许以女儿，并提拔程一往任知县。程一往为尹桃红翻案，被巡按误会假公济私。后巡按知悉原委，赐假毒酒试探二人，尹桃红、程一往含笑饮砒霜，终感动巡按释放尹桃红。剧情简介：尹桃紅青樓賣唱, 與文武雙全窮書生程一往相戀。紅被養母迫嫁富豪黃百壇, 為不須壇替己贖身, 紅與往欲服毒殉情。剛巧壇到訪, 卻誤飲毒酒身亡。往為見紅故意惹事生非, 被判牢一天。該日有強盜劫獄, 往把強盜擊退, 又與捕頭搗破匪巢, 偶然求助巡按女兒...
主演：任剑辉,余丽珍,梁醒波,凤凰女
导演：珠玑
简介：趙平王（任劍輝）的東宮彩鸞（余麗珍）和西宮錦鳯（鳯凰女）同時產子。錦鳯子夭折錦鳯暗中以死嬰換鷥子，彩鸞再度懷孕錦鳯派人此作鷥奸夫，刺殺太后，更迫平王下令施刑，烙盲彩鸞雙目，把她棄於荒山，彩鸞幸得百獸保護，順利產子。续上集:东宫彩鸶与三太子玉麟居荒山十六年，鸾获华山圣母赐神眼，神翼及隐身宝扇，暗中回宫保护亲儿金麟。西宫锦凤欲杀金，鸾入宫营救，失手被擒。凤唆使金杀鸾，幸玉及时率百兽对付凤，凤惨死，金即帝位，接鸾回宫团圆
主演：關德興,,曹達華,,石坚,林蛟
导演：胡鵬
简介：天宮仙獸園的猩猩王偷去二郎神的寶牌，化身人形潛下凡間，到處奸淫擄掠，傷及清官張忠介的子女。介向天求救，驚動眾仙，卻都苦無良計對付猩，終由觀音將猩收服，並一一處罰犯錯的眾仙。
主演：西蒙·西涅莱,劳伦斯·哈维,海瑟·西尔斯,唐纳德·沃尔菲,唐纳德·休斯敦
导演：未知
简介：乔（劳伦斯·哈维 Laurence Harvey 饰）出身卑微，为此，他一直感到十分自卑。可是，这样的乔却偏偏爱上了大企业家的女儿苏珊（海瑟·西尔斯 Heather Sears 饰），身份的巨大悬殊令这段感情注定得不到祝福。为了阻止这段感情，苏珊的父亲为苏珊安排了同她门当户对的结婚对象，乔为此感到万分屈辱。美艳的女演员爱丽丝（西蒙·西涅莱 Simone Signoret 饰）出现在了乔的身边，两人的关系逐渐亲密，可这任然无法填补乔内心的空虚。乔深知身份和地位的重要，为此，他重新回到了苏珊的身边，希望能够借此挤入上流社会，最终，苏珊的父亲拗不过女儿的执着，答应了这门婚事。惨遭抛弃的爱丽丝失去了全部的希望，与一场意外中不幸身亡。
主演：恩和森,张巨光,潘莹,刘世龙,朝鲁,白英宽,任伟民,柏瑞桐,王延盛,李晓功
导演：朱文顺,珠兰琪琪柯
简介：导演：朱文顺；珠兰琪琪柯 副导演（助理）：林克 编剧：玛拉沁夫；珠兰琪琪柯 摄影：陈民魂 配乐：通福 美术设计：刘金乃 录音：黄力加 胡合 恩和森 内蒙古青年猎手 拉西宁布 朝鲁 内蒙古青年猎手 加米阳 宝音吉尔嘎郎 内蒙古青年猎手 张玉喜 张巨光 内蒙古青年猎手 道尔吉 乔鹿 官布的儿子 秀芝 潘莹 胡合的妻子、张玉喜的妹妹 娜布琪 柏瑞桐 小玲，张玉喜的女儿 关其卡 关其格 胡合的义子 查干朝鲁 包金贤 ---- 方书记 王延盛 方志诚，游击队 盟长 鄂长林 ---- 拉妻 依若呼 ---- 胡合母亲 格日乐 ---- 勘探队队长 李玉泽 ---- 医生 徐迅行 ---- 官布 孟和 ---- 日本军官 任伟民 ---- 马队队长 陈达 ---- 抗日战争时期。辽阔的内蒙古草原上，青年猎手胡合、加米扬、拉西宁布和张玉喜...
主演：吴君丽,罗剑郎,半日安,阮兆辉,陈宝珠
导演：陈焯生
简介：电影剧情：张金荣与赵家璧没有经母亲之命结合，并育有一子带来。金荣继母及同父异母弟弟为夺亡父留下的藏宝图，多年来对金荣一家百般欺凌。后家璧诞下另一儿子宝官，刚巧二嫂难产，婴儿夭折，家仆福伯害怕奶奶及二叔加害宝官，故把宝官新生儿交给二嫂养育，认作二嫂所出。金荣父亲的藏宝图规定，一定要等到十六年后才能找出宝藏，而宝图则由金荣保管。经福伯解释，宝官与母亲家璧相认。二叔及继母急不可待要迫令金荣交出藏宝图，甚至把金荣打伤。及发现宝藏空空如也，愤而生葬家璧。金荣两子孝感动天，得神鹰赐斧、棍，劈棺救母。福伯努力营救，金荣大难不死，亦回来拯救妻子，一家团圆。出品时间：1959年出品公司：大联影业公司摄制公司：国家片场制片地区：中国香港类 型：剧情片 长：107分钟上映时间：1959年11月19日对白语言：粤语色 彩：黑白职员表...
主演：林黛,赵雷,胡金铨,杨志卿
导演：李翰祥
简介：年轻的正德皇帝，在御书房听太傅梁储讲学，窗外传来宫女妙曼歌声，词意称颂江南景色美丽，人物俊秀，不禁悠然神往。适值殿前侍卫将军周勇乞假返回江南故乡，正德心生一计，命周勇护驾陪行，微服私游江南。君臣策马同行，游览江南景色。正德向来寂处深宫，难得逍遥自在，心怀为之大快。一天来到梅龙镇，镇上正在举行酬神盛会，人山人海，鼓乐喧天。正德与周勇挤在人丛中观看，游行景艺巧妙新奇，目不暇给。突然朵朵鲜花从天而降，正德伸手抢接，惹得扮演「天女散花」的少女嫣然一笑。正德神摇魄荡，一缕深情系在少女身上。回到客店，少女的笑容深印在正德脑中，辗转反侧，无法入寐。翌晨起来，独自漫步。丛林中酒旗高挑，正德信步入内，却和昨天所见少女相遇。原来她是酒家店主李龙的妹妹李凤，不禁喜出望外。酒保大牛上前拦阻，声言今天店主有事外出，暂停沽酒。李凤见正德年少俊雅，芳心窥慕，借故遣开大牛，殷勤...
主演：谢添,林彬,马薇,于蓝,韩涛
导演：水华
简介：1931年“九一八”事变后的冬天，浙江某小镇也和全国各地一样，掀起了抵制日货的运动。镇上“林源记”老板的女儿林明秀（马薇 饰），因穿了一件日本面料的旗袍而受到同学的鄙视。她回到家中哭闹，责怪父亲尽卖些东洋货。此时林老板（谢添 饰） 也正为县党部勒令停售东洋货伤透脑筋。不得已他只好把东洋货冠以“国货”的标签出售。年关将至，正是讨债用钱的时候，各商铺纷纷以打折甩货来相互倾轧。“一.二八”沪战爆发的消息使林老板添了新的忧虑，因为他还欠着上海某商行的货款，此时上海客人（陈述 饰）来催债, 林老板只好跟钱庄借贷，然而钱庄非但不肯，反而要求他还清陈债，幸好伙计寿生从乡下收帐回来，才打发走了上海客人。而此时“林源记” 的竞争对手“裕昌祥” 放出了林老板准备携款逃走的谣言，小股东们纷纷上门讨要本钱，林老板只好求余会长（韩涛 饰）帮忙辟谣，余会长却借机提出让林的女儿做...
主演：马丁·拉萨尔,玛莉卡·格林,Jean,Pélégri,Dolly,Scal,
导演：罗伯特·布列松,
简介：影片以日记的形式呈现。无所事事的年轻人米歇尔（马丁·拉萨尔 Martin LaSalle 饰）在赛马场目睹了一个小偷偷窃的全过程，他被小偷那自信优雅的手法所吸引遂即加入了偷窃的勾当。爱读书，坚持虚无主义哲学思想的米歇尔坚信偷窃是一种手指的芭蕾，一场完美的行窃就像一场精彩的行为艺术。米歇尔有一个久违的病重的母亲，在去探望的时候结识了一直照顾他母亲的邻居珍妮（玛莉卡·格林 Marika Green 饰），漂亮的珍妮唤醒了米歇尔心中沉睡已久的感情。米歇尔被警察盯住了，警长虽然三番五次的给了他改过自新的机会，但米歇尔依旧沉迷于他的“艺术”中无法自拔，很快，米歇尔被捕了。珍妮来狱中探望米歇尔，她向他袒露了自己的真情，米歇尔在泪水中猛然醒悟，当生命中还有所爱的人存在，生活就不会是一片虚无。
主演：关仁,大声婆,陈立品,任剑辉,周小来,白雪仙,梁醒波
导演：俞亮
简介：杨春香和江谢祖情投意合，虽分隔两地，却无碍感情。兄耀祖为弟着想，修好木桥，定名为二郎以作纪念。因战乱失散，兄弟投靠姨丈。十年后，香为养母于街头卖艺，引起恶霸贾二爷垂涎，香拒被侵犯，贾感不甘。香被母迫嫁耀，始与谢重逢。谢虽重遇爱人，唯其早已是大嫂身份，只好忘却前事。香将真相告予耀祖，得其谅解。耀得知往事，离家从戎，以成全香、谢。十里亭上，香多番表明爱意，谢却碍于礼教，惟有辜负佳人。香失意之余，险遭贾强奸，复因自卫杀人被判死刑。谢遭贾的师爷所害变至失明，重回二郎桥，唏嘘万分。其时香被押至，谢深感悔意。行刑之际，幸得耀荣归来救，香与谢终再续前缘。
主演：新马师曾,余丽珍,欧阳俭,苏少棠,凤凰女
导演：珠玑,龙图
简介：电影剧情：神鸟大鹏下凡，偶遇庸仁福，施法术助福夺得美人韩明珠，鹏却被迫娶明丑姊珍珠。明不甘嫁福，新婚夜欲借酒移花接木，意图改嫁大鹏，却惊见鹏现出原形，后更遭鹏挟持，幸得十八罗汉将鹏收服。The Roc's long flight出品时间：1959年出品公司：立达影业公司制片地区：中国香港上映时间：对白语言：粤语色彩：黑白类型：奇幻，戏曲，粤剧职员表：监制：许立斋导演：珠玑；龙图编剧：卢雨岐；李愿闻制片：严牛撰曲：李愿闻；潘焯演员表：角色 演员 备注神鸟大鹏 新马师曾 ----韩珍珠 余丽珍 ...
主演：哈里·贝拉方特,英格儿·斯蒂文斯,梅尔·费勒
导演：拉纳尔德·麦克杜格尔
简介：Ralph Burton is a miner who is trapped for several days as a result of a cave-in. When he finally manages to dig himself out, he realizes that all of mankind seems to have been destroyed in a nuclear holocaust. He travels to New York City only to find it deserted. Making a life for himself there, he is flabbergasted to eventually find Sarah Crandall, who also managed to survive. Together, they form a close friendship until the arrival of Benson Thacker who has managed to pilot his small boat into the city's harbor. At this point the tensions rise between the three, particularly between Thacker, who is white and Burton, who is black.
主演：内详
导演：居伊·德波
简介：Voice 1 (male "professional announcer" type): This neighborhood(1) was made for the wretched dignity of the petty bourgeoisie, for respectable occupations and intellectual tourism. The sedentary population of the upper floors was sheltered from the influences of the street. This neighborhood has remained the same. It was the strange setting of our story, where a systematic questioning of all the diversions and works of a society, a total critique of its idea of happiness, was expressed in acts.These people also scorned "subjective profundity". They were interested in nothing but an adequate and concrete expression of themselves.Voice 2 (Debord, monotone): Human beings are not fully conscious of their real life - usually groping in the dark; overwhelmed by the consequences of their acts; at every moment groups and individuals find themselves confronted with results they have not wished.Voice 1: They said that oblivion was their ruling passion. They wanted to reinvent everything each day; to become the masters and possessors of their own lives.Just as one does not judge a man according to the conception he has of himself, one cannot judge such periods of transition according to their own consciousness; on the contrary, one must explain the consciousness through the contradictions of material life, through the conflict between social conditions and the forces of social production.The progress achieved in the domination of nature was not yet matched by a corresponding liberation of everyday life. Youth passed away among the various controls of resignation.Our camera has captured for you a few aspects of a provisional microsociety.The knowledge of empirical facts remains abstract and superficial as long as it is not concretized by its integration into the whole "” which alone permits the supersession of partial and abstract problems so as to arrive at their concrete essence, and implicitly at their meaning.This group was on the margins of the economy. It tended toward a role of pure consumption, and first of all the free consumption of its time. It thus found itself directly engaged in qualitative variations of everyday life but deprived of any means to intervene in them.The group ranged over a very small area. The same times brought them back to the same places. No one went to bed early. Discussion on the meaning of all this continued...Voice 2: "Our life is a journey "” In the winter and the night. "” We seek our passage..."?Voice 1: The abandoned literature nevertheless exerted a delaying action on new affective formulations.Voice 2: There was the fatigue and the cold of the morning in this much-traversed labyrinth, like an enigma that we had to resolve. It was a looking-glass reality through which we had to discover the potential richness of reality.On the bank of the river evening began once again; and caresses; and the importance of a world without importance. Just as the eyes have a blurred vision of many things and can see only one clearly, so the will can strive only incompletely toward diverse objects and can completely love only one at a time.Voice 3 (young girl): No one counted on the future. It would never be possible to be together later, or anywhere else. There would never be a greater freedom.Voice 1: The refusal of time and of growing old automatically limited encounters in this narrow, contingent zone, where what was lacking was felt as irreparable. The extreme precariousness of the means of getting by without working was at the root of this impatience which made excesses necessary and breaks definitive.Voice 2: One never really contests an organization of existence without contesting all of that organization's forms of language.Voice 1: When freedom is practiced in a closed circle, it fades into a dream, becomes a mere representation of itself. The ambiance of play is by nature unstable. At any moment "ordinary life"? can prevail once again. The geographical limitation of play is even more striking than its temporal limitation. Any game takes place within the contours of its spatial domain. Around the neighborhood, around its fleeting and threatened immobility, stretched a half-known city where people met only by chance, losing their way forever.The girls who found their way there, because they were legally under the control of their families until the age of eighteen, were often recaptured by the defenders of that detestable institution. They were generally confined under the guard of those creatures who among all the bad products of a bad society are the most ugly and repugnant: nuns.What usually makes documentaries so easy to understand is the arbitrary limitation of their subject matter. They describe the atomization of social functions and the isolation of their products. One can, in contrast, envisage the entire complexity of a moment which is not resolved into a work, a moment whose movement indissolubly contains facts and values and whose meaning does not yet appear. The subject matter of the documentary would then be this confused totality.Voice 2: The era had arrived at a level of knowledge and technical means that made possible, and increasingly necessary, a direct construction of all aspects of a liberated affective and practical existence. The appearance of these superior means of action, still unused because of the delays in the project of liquidating the commodity economy, had already condemned aesthetic activity, whose ambitions and powers were both outdated. The decay of art and of all the values of former mores had formed our sociological background. The ruling class's monopoly over the instruments we needed to control in order to realize the collective art of our time had excluded us from a cultural production officially devoted to illustrating and repeating the past. An art film on this generation can only be a film on its absence of real creations.Everyone unthinkingly followed the paths learned once and for all, to their work and their home, to their predictable future. For them duty had already become a habit, and habit a duty. They did not see the deficiency of their city. They thought the deficiency of their life was natural. We wanted to break out of this conditioning, in quest of another use of the urban landscape, in quest of new passions. The atmosphere of a few places gave us intimations of the future powers of an architecture it would be necessary to create to be the support and framework for less mediocre games. We could expect nothing of anything we had not ourselves altered. The urban environment proclaimed the orders and tastes of the ruling society just as violently as the newspapers. It is man who makes the unity of the world, but man has extended himself everywhere. People can see nothing around them that is not their own image; everything speaks to them of themselves. Their very landscape is alive. There were obstacles everywhere. There was a cohesion in the obstacles of all types. They maintained the coherent reign of poverty. Everything being connected, it was necessary to change everything by a unitary struggle, or nothing. It was necessary to link up with the masses, but we were surrounded by sleep.Voice 3: The dictatorship of the proletariat is a desperate struggle, bloody and bloodless, violent and peaceful, military and economic, educational and administrative, against the forces and traditions of the old world.Voice 1: In this country it is once again the men of order who have rebelled. They have reinforced their power. They have been able to aggravate the grotesqueness of the ruling conditions according to their will. They have embellished their system with the funereal ceremonies of the past.Voice 2: Years, like a single instant prolonged to this point, come to an end.Voice 1: What was directly lived reappears frozen in the distance, fit into the tastes and illusions of an era, carried away with it.Voice 2: The appearance of events that we have not made, that others have made against us, now obliges us to be aware of the passage of time, its results, the transformation of our own desires into events. What differentiates the past from the present is precisely its out-of-reach objectivity; there is no more should-be; being is so consumed that it has ceased to exist. The details are already lost in the dust of time. Who was afraid of life, afraid of the night, afraid of being taken, afraid of being kept?Voice 3: What should be abolished continues, and we continue to wear away with it. We are engulfed. We are separated. The years pass and we haven't changed anything.Voice 2: Once again morning in the same streets. Once again the fatigue of so many similarly passed nights. It is a walk that has lasted a long time.Voice 1: Really hard to drink more.Voice 2: Of course one might make a film of it. But even if such a film succeeds in being as fundamentally disconnected and unsatisfying as the reality it deals with, it will never be more than a re-creation "” poor and false like this botched traveling shot.Voice 3: There are now people who pride themselves on being authors of films, as others were authors of novels. They are even more backward than the novelists because they are unaware of the decomposition and exhaustion of individual expression in our time, ignorant of the end of the arts of passivity. They are praised for their sincerity since they dramatize, with more personal depth, the conventions of which their life consists. There is talk of the liberation of the cinema. But what does it matter to us if one more art is liberated through which Tom, Dick or Harry can joyously express their slavish sentiments? The only interesting venture is the liberation of everyday life, not only in the perspectives of history but for us and right away. This entails the withering away of alienated forms of communication. The cinema, too, has to be destroyed.Voice 2: In the final analysis, stars are created by the need we have for them, and not by their talent or lack of talent or even by the film industry or advertising. Miserable need, dismal, anonymous life that would like to expand itself to the dimensions of cinema life. The imaginary life on the screen is the product of this real need. The star is the projection of this need.The images of the advertisements during the intermissions are more suited than any others for evoking an intermission of life.To really describe this era it would no doubt be necessary to show many other things. But what would be the point?Better to grasp the totality of what has been done and what remains to be done than to add more ruins to the old world of the spectacle and of memories.1. This film, which evokes the lettrist experiences at the origin of the situationist movement, opens with shots of the Paris district frequented by the lettrists in the early 1950s.
主演：丁尼,高岩,胡晓光,李长华,李舒田,言小朋,唐克,王斑,黄焕光,王润身,王孝忠
导演：王冰
简介：继三大战役后，我华东野战军奉中央之命战略包围上海。沪杭警备司令汤云甫（王斑 饰）率30万国民党军队负隅顽抗，准备与我军决战。我军根据中央指示，本着既要解放上海，又要保全城市的作战方针，将敌主力引诱至城市外围加以歼灭。方军长（丁尼 饰）和张政委（高岩 饰）为部队进城做了周密布署，我军在上海地下党负责人林凡（胡晓光 饰）配合下，攻进市区，占领了苏州河以南的广大地区。国民党军队撤守到苏州河北岸继续抵抗，残存的国民党杂牌军刘义（刘季云 饰）部，龟缩在市中心，无望地等待失败的来临。我先头部队则在市区与残存的敌人展开巷战，攻占了发电厂、市政府等重要部位，在强大的军事攻势和政治攻势下，无望的敌人终于举起了白旗......
主演：里坡,贾六,胡朋,刘季云
导演：冯毅夫,李俊
简介：抗战初期的冀中平原上，日寇的“三光”政策所到之处，村村坟莹、遍野哭声。平地一声惊雷，马本斋（里坡 饰）高举抗日义旗，从东北返乡成立抗日义勇队，网络民间抗日志士，抗击日寇的侵略。由于缺乏正确的领导，回民义勇队在最初的战斗中损失惨重，幸得八路军营救，方获重生。马本斋毅然断决利诱，率部参加了八路军，并将队伍改编为回民支队。他的副官白守仁（王孝忠 饰）暗中与日寇勾结，企图拉队伍投敌，马本斋怒火中烧，当众将其击毙。凶恶的日寇抓来马母(胡朋 饰)逼马本斋就范。马母英勇不屈，绝食殉国。目睹日寇的卑鄙暴行，马本斋心中激发了更强烈的民族仇恨......
主演：加里·格兰特,爱娃·玛丽·森特,詹姆斯·梅森,洁茜·罗伊丝·兰迪斯,里奥.G.卡罗尔,约瑟芬·哈钦森,菲利普·奥伯,马丁·兰道,亚当·威廉姆斯,爱德华·普拉特,罗伯特·艾伦斯坦,莱斯·崔梅恩,菲利普·柯立芝,帕特里克·麦克维,爱德华·宾斯,肯·林奇,马尔科姆·阿特伯里
导演：阿尔弗雷德·希区柯克
简介：罗杰（加里·格兰特 Cary Grant 饰）是个平凡的广告商人，最近却莫名其妙的惹了一身的麻烦——他被别人错认成一名叫“凯普林”的人，还被人灌醉放进车中，意图造成车毁人亡，命大的罗杰却顺利逃过这一劫。这个离奇的经历让罗杰又后怕又好奇，为了证明自己的清白，他非要找出真正的 “凯普林”不可。
主演：若杉嘉津子,天知茂,北沢典子,江见俊太郎,池内淳子,大友纯,稻垣三郎,芝田新,花冈菊子
导演：中川信夫
简介：浪人民谷伊右卫门（天知茂 饰）贪污巨额公款，被丈人四谷左门（浅野进治郎 饰）得知，四谷不满其卑鄙品行，严命女儿阿岩（若杉嘉津子 饰）与之离婚。丈婿话不投机，刀剑相向，伊右终将四谷残忍杀害。这之后，他与好友直助（江见俊太郎 饰）串通，谎称丈人为仇家杀害，带着阿岩、阿岩的妹妹阿袖（北泽典子 饰）以及阿袖的未婚夫与茂七（中村龙三郎 饰）逃往江户。途中，二人又密谋将与茂七推下悬崖。暂时安定下来的伊右渐渐不满贫穷的生活和妻子的拖累，偶然机会他从流氓手中救出富商的孙女阿梅（池内淳子 饰），富商欣赏其英武，欲将其招为孙婿。得知此讯的直助再次前来，和伊右密谋杀害碍手碍脚的阿岩……
主演：若尾文子,川口浩,船越英二,宫口精二,东山千荣子,Atsuko,Kindaichi,Yoshirô,Kitahara,小林胜彦,泷花久子,丹阿弥谷津子
导演：增村保造
简介：富丽堂皇的大酒店，正在进行一场盛大的婚礼。三原商事的次子二郎（北原義郎 饰）迎娶野野宫家的二女儿梨子（近藤美恵子 饰）。早在三年前，两家已有过一次联姻。当年三原一郎（船越英二 饰）爱慕在本公司担任秘书的野野宫桃子（丹阿弥谷津子 饰），二人最终结为夫妇。如今两家再次联姻，无疑谱写了一段佳话。适值此时，三原家的小儿子三郎（川口浩 饰）正在另一家公司独自打拼，哥哥们有意召回弟弟，强势的桃子也希望彰显自己的实力，她因此极力撮合妹妹杏子（若尾文子 饰）和三郎走到一起。得知兄长和姐姐的心意，三郎和杏子结成同盟，发誓永不结婚……本片根据源氏鶏太的同名小说改编。
主演：Peter,Sellers,Robert,Morley,Constance,Cummings,Jameson,Clark
导演：查尔斯·克莱顿
简介：Classic British comedy adapted from a James Thurber story about a tweed manufacturer's elderly accountant who devises a plan to save the company from an American takeover bid. The arrival of an efficiency expert from the States causes enough of a stir but, when it turns out to be a woman, the old-fashioned number cruncher declares war. Man-eating businesswoman, Angela Barrows is sent by her US company to Edinburgh to investigate export opportunities. She meets businessman Robert MacPherson en route and he persuades her to help bring his company into the 20th century. The staff, lead by Mr. Martin, have other ideas and a battle between the old and new business methods breaks out.
主演：冯喆,程之,牛犇,于明德,张文甲
导演：葛鑫
简介：1951年，大漠如烟。人民解放军剿匪部队与残存的国民党兵匪在沙漠中摆下别样的战场，颗颗子弹带看仇恨射向面目狰狞的敌人。通过激烈的战斗，除了匪首金冶中（程之 饰）及两个匪兵逃脱外其他敌人全部被歼灭，打扫完战场，负伤的班长钟永胜（冯喆 饰）带着战士李玉根（于明德 饰）和小姜（牛犇 饰）继续沿着敌人马蹄留下的痕迹追击。天公不作美，陡然的狂风吹消了沙漠上一切痕迹，敌人朝哪个方向逃走了呢？诸葛亮会后，他们兵分三路追击。小姜最先追上匪首并毙敌军马和一个匪兵，而自已也负伤，幸亏钟永胜和李玉根及时赶到，继续追击未路之敌。他们在水站旁击毙了另一名匪徒，金冶中又逃脱了。钟永胜的伤势由于得不到治疔，在干旱的沙漠里急剧恶化，不幸牺牲。李玉根和小姜泪目相望，发誓要给班长报仇......
主演：若尾文子,中村雁治郎,笠智众,杉村春子,京町子,田中春男,川口浩,岛津雅彦,野添瞳,丸山修
导演：小津安二郎
简介：歌舞伎艺人岚驹十郎（中村雁治郎 饰）率领他的剧团来到志摩半岛的小镇，早年间他曾来此演出，并和当地的女子阿芳（杉村春子 饰）结合生下一子。多年来，他无论身在何处都不忘接济阿芳母子，虽然欣喜儿子阿清（川口浩 饰）的成长，却不愿让他知道这层父子关系，只以叔叔的身份陪伴在他的左右。剧团长时间驻留小镇，生意也从最初的火爆变得萧条。纵然人心惶惶，驹十郎却仍不愿带团离开。驹十郎在剧团的情人寿美子（京町子 饰）某天终于得知隐情，且恨且妒的她怂恿年轻女演员加代（若尾文子 饰）去勾引阿清，谁知两人却一见钟情…
主演：奥黛丽·赫本,彼得·芬奇,伊迪斯·伊万斯,莱昂内尔·杰弗里斯,科琳·杜赫斯特,Patricia,Bosworth,鲁斯·怀特,比阿特丽斯·斯特雷特,米尔德丽德·丹诺克,迪恩·贾格尔,佩吉·阿什克罗福特
导演：弗雷德·金尼曼
简介：《修女传》由四度夺得奥斯卡金像奖的导演弗雷德·金尼曼执导，是奥黛莉·赫本的代表作之一，曾荣膺奥斯卡最佳影片等八项提名。 女主角嘉比雅（奥黛丽·赫本 Audrey Hepburn 饰）投身修道院，学习教会的戒律变成璐克修女。其后被送到医学院学习当护士，毕业后派到非洲的比属刚果服务。在那儿她认识了无神论的医生福图纳提，引起了她对宗教信仰的质疑。不久璐克生病，病后被送回比利时，当时正值二次世界大战爆发，医院旁炮声隆隆，修女们却不顾个人安危继续工作。比利时沦陷后，璐克参加了敌后工作，爱心使她无法保持修道者的沉默和自制。当她听到父亲被杀害的消息时，撤去了她修女的誓愿，请求还俗退出了修道院。