备注：已完结
类型：剧情片
主演：玻伦·萨特 乌吾尔·宇杰尔 埃依茄.本高尔 Turgay Kantür
导演：乌吾尔·宇杰尔
语言：其它
年代：未知
简介：At 2 Ela lost her ability of seeing and hearing because of a severe illness. And then she became a total disappointment of her family due to her untamed behaviors. But everything changed after an unorthodox teacher stepped into their lives to educate Ela while healing himself.
备注：已完结
类型：剧情片
主演：克拉拉·卡拉马伊 马西莫·吉洛蒂 Dhia Cristiani Eli
导演：卢基诺·维斯康蒂
语言：其它
年代：未知
简介：改编自美国J.凯恩的小说《邮差总按二次铃》，完成于1941年，在剧本必须由法西斯政府审查的拍摄条件下，维斯康提把这个通奸谋杀亲夫的畸恋故事，拍成充满绝望宿命气息的作品。 片中一方面是出身贫家的女主角，身不由己嫁给肥胖粗俗的酒店老板，她完全没有逃脱被豢养（并不时被羞辱）生活的勇气，而男主角则是个流浪的无业游民，他经不起女主角的诱惑，犯下致命的罪行，艰困的社会生活条件，明确烘托出男女主角各自别无选择、一拍即合的宿命孽缘。初执导演筒的维斯康提，在片中已经展现他后期作品中最大的特色：对人物不克自拔情欲心理的细腻描画，在饮食间两性对对方身体的凝视中，维斯康提把艰困的物质生活和不受拘束的内心肉欲作了明确的并列，弥补了通奸过程的简略。
备注：已完结
类型：爱情片
主演：兹德娜·斯图登科娃 Vlastimil Harapes 瓦克拉·沃斯卡
导演：尤拉伊·赫兹
语言：其它
年代：未知
简介： 在回家的途中，一位商人（瓦克拉·沃斯卡 Václav Voska 饰）遭遇了罕见的暴风雪，昏天黑地之中，商人误打误撞来到了一幢豪华神秘的城堡前。商人在城堡中受到了贵宾般的优厚待遇，但直到最后，商人仍然不知道城堡的主人究竟是谁。暴风雪停歇了，商人准备离开，临走之前，他决定在花园中摘一朵玫瑰送给自己最喜爱的小女儿贝儿（兹德娜·斯图登科娃 Zdena Studenková 饰），而令他没有想到的是，长相狰狞的野兽（Vlastimil Harapes 饰）出现在了他的面前向他索命。 商人失魂落魄的回到了家，将自己的遭遇告诉了六个儿女，爱父心切的贝儿决定代替父亲，只身来到了城堡。然而，等待着贝儿的却并非死亡，而是更加盛情的款待，野兽对她唯一的要求，就是不要离开城堡半步。贝儿并不惧怕野兽，随着时间的推移，两人之间的关系越来越近。
备注：已完结
类型：剧情片
主演：基努·里维斯 艾塔娜·桑切斯-希洪 安东尼·奎恩 吉安卡罗·吉安尼尼
导演：阿方索·阿雷奥
语言：英语
年代：未知
简介：二战结束后，思乡心切的大批美军士兵踏上旧金山港即投进久候的亲人的怀抱，但保罗?萨顿（基努?里维斯）久等仍不见其妻子的踪影，夕阳西沉时，他拖着孤单落寞的身躯走回家中，发现妻子早已改变，她的眼里只剩金钱不再有他。 眼看家中已毫无温情，保罗也无心留恋，只是他再次外出离家是为工作。在火车上，保罗结识美丽的姑娘维多利亚?阿拉贡（Aitana Sánchez-Gijón），因为投缘，保罗将她一路细心照顾，而维多利亚在感激之余，向保罗倾诉了自己的不幸，听过她的遭遇后，保罗决定陪她返回家乡，尽其所能帮助她。
备注：已完结
类型：爱情片
主演：马修·凯文·安德森 Rohain Arora Abraham Asto
语言：英语
年代：未知
简介： Hardin portrays romance novelist Emilia, described as a whirlwind who blows back into the lives of her adult children, Taylor (McNamara) and Zach (Lloyd-Jones), under the pretense of a book signing arranged by her hometown's local book shop. As Emilia tries to reconnect, Taylor and Zach explore new and past relationships through an app that boasts old-fashioned human connection by way of the classified ad. Zach is given a chance to heal old wounds while Taylor matches with a woman that changes the way she's always thought about love. This is such a fun story from writer Lynn Sternberger, that is ultimately a story of love, family, and commitment in all its forms. With a cast that includes Melora Hardin, Arienne Mandi, Katherine McNamara, and Max Lloyd-Jones to help bring this movie to life will no doubt put a smile on the faces of our viewers this spring," said Lisa Hamilton Daly, EVP Programming Crown Media Family Networks. The movie is being produced by Neal Dodson, with Stacey Harding directing from a script by Sternberger.
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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 - 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.
