备注：已完结
类型：剧情片
主演：珍妮弗·琼斯 蒙哥马利·克利夫特 吉诺·塞尔维 理查德·贝梅尔 Gin
导演：维托里奥·德西卡
语言：英语
年代：未知
简介：玛丽（珍妮弗·琼斯 Jennifer Jones 饰）在意大利度假时邂逅了名为乔班尼（蒙哥马利·克利夫特 Montgomery Clift 饰）的男子，两人之间相互吸引，很快就走到了一起，相互陪伴度过了快乐的两天。然而，快乐的日子都是短暂的，玛丽即将离开意大利前往巴黎，乔班尼劝说玛丽留下来，留在他的身边，可是固执的玛丽却去意已决，这让乔班尼非常的愤怒，他失手打了玛丽。 悲伤的玛丽准备搭上前往巴黎的火车，就在火车快要开动的时候，乔班尼出现了，他不顾危险穿越轨道来到玛丽的身边，他的举动感动了玛丽，两人重修旧好。虽然错过了这一班火车，但下一班火车很快就来了，留给两人的时间越来越短了。
备注：已完结
类型：欧美动漫
主演：Mike Henry Sanaa Lathan Kevin Micha
导演：Jack Perkins
语言：英语
年代：未知
简介：在本剧尚未开播之际，FOX就已经宣布预订该剧第二季，两年一共订了35集。Cleveland Brown是一个性格温和的好男人，每个邻居都很喜欢他。
备注：已完结
类型：恐怖片
主演：埃朗·哈斯米 Esha Gupta Randeep Hooda Imr
语言：其它
年代：未知
简介：居住在德里，以卖枪为生的社会青年索努.迪力一向得意于自己坑蒙拐骗的本领，然而突如其来的恋爱却唤起了他回归正道的念头。在他想要退出江湖时，一位质朴的警察来了，在他的威胁之下，索努被迫作为警方线人深入德里枪支贸易的最深处，从黑暗走向更深的黑暗……他能否全身而退？他的爱情会被谎言所断送吗？警方看似正义的行动背后有什么秘密？这次卧底之行从他的身上带走的，会是良知，爱情，羁绊，还是生命？
备注：已完结
类型：欧美动漫
主演：Daniel Peera Michael C. Pizzuto Ali
导演：未知
语言：英语
年代：未知
简介：这部纪录片系列记录了一个比小说更奇怪的故事，一个前警察出身的安全审计员操纵了麦当劳的垄断游戏推广长达十年，窃取了数百万美元，并在美国各地建立了一个庞大的同谋网络。这部纪录片利用了独家的第一手资料和档案录像，特写了 打破赌博诈骗的 fbi 特工; 麦当劳的企业高管，他们自己也受到了欺骗; 审理这个案子的律师; 从复杂的计划中获利的罪犯和获奖者，以及经常不知不觉地被欺骗成为骗局一部分的个人。
备注：已完结
类型：剧情片
主演：瓦莱丽亚·布鲁尼·泰德斯基 玛琳娜·佛伊丝 皮奥·马麦 艾萨图·迪亚诺
导演：卡特琳·科西尼
语言：法语
年代：未知
简介：漫画家拉菲面临拉子婚姻危机，急于挽回偏偏摔断手送医。 然而危急的不仅是她的爱情，整个国家也濒临分崩离析。 外头镇暴警察棒打黄背心，院里过劳医护挥汗AED，闹哄哄的急诊室宛若法国社会缩影，各色人等一边看政治新闻斗嘴，一边哀嚎争论谁才值得优先关心。 在示威前线遭催泪弹炸伤的货车司 机，与为爱癫狂的拉菲相遇，两个背景迥异却同样失意的暴走沦落人，该如何在烟硝弥漫的医院里捱过动荡长夜，找回内心和平？ 《美好时节》导演推出针砭时局的悲喜剧，不仅描绘女同志家庭，更剑指医疗体系及中下阶层民生问题。 意大利大卫奖影后华薇莉泰德奇在片中大飙演技，将失控的焦虑型依恋者演得神烦又令人怜惜。 当恋人之都烽烟四起，种种歇斯底里的背后，是困顿人生的哀鸣。
备注：已完结
类型：剧情片
主演：Georges Corraface Ieroklis Michaeli
语言：英语
年代：未知
简介：7岁的凡尼斯（乔治斯·科拉菲斯 Georges Corraface 饰）与家人生活在伊斯坦布尔，他的祖父拥有一家香料店，在那里，凡尼斯度过了他的童年。祖父通过类比香料的特性来教授凡尼斯关于生命、宇宙和地理的各种知识，年幼的凡尼斯还爱上了与他一起玩耍的土耳其女孩，姗美。然而不久后，政治的暴乱破坏了美满的家庭，凡尼斯和父母因持有希腊国籍而被驱逐出镜，迁往雅典，身为土耳其公民的祖父则得以留下。时光飞逝，不惑之年的凡尼斯已经成为了一名天文学教授，备受尊重，但他却觉得生活中充满迷茫，似乎总是缺少那么一点香料。离开家乡的35年来，他依然渴望着回到儿时的故乡，渴望着再见到那个美好的女孩…… 本片根据编剧、导演Tassos Boulmetis的真实经历改编。
备注：已完结
类型：剧情片
主演：萨姆·德·格拉斯 Francelia Billington 埃里克·冯
导演：埃里克·冯·施特罗海姆
语言：英语
年代：未知
简介：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 - shotscountershots, 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.
