虽然这部电影本身是虚构的，但确是根据发生在1996年的真实事件部分改编而来。1996年的八月，巴士司机Marcel Van Loock和Wim Moreels（两人为比利时人）被摩洛哥海关税务机构逮捕，在他们车内伪装的后车厢里发现了700磅的毒品。虽然巴士公司在落网后对犯罪事实供认不讳，并且明确指出这两名司机对车上藏匿的毒品好不知情，摩洛哥法官依然宣判两人在摩洛哥丹吉尔监狱服刑5年。这两人对于突如其来的监狱生活毫无准备，没有食物，没有衣物，也没有医疗保障，他们必须学会如何照顾自己，如何在监狱里生存下去。腐败堕落的看守，对囚犯漠不关心的狱长，还有贪污腐败的律师和法官，以及他们时常遭遇的各种攻击，所有这些只不过是残酷监狱生活的冰山一角而已。他们发现，甚至是自己的政府都对在海外监狱服刑的比利时人毫不在意。而与此同时，他们的家人只能呆在家里，得不到任何有关他们的信息，任何帮助和任何希望。

故事根据凯文·巴里撰写的《纽约时报》年度十佳小说改编，凯文·巴里亲自操刀剧本。 　　小说以西班牙和爱尔兰为背景，讲述爱尔兰黑帮莫里斯和查理的故事。他们走私毒品，有着长期的暴力史和错综复杂的个人生活。两人回到西班牙南部，再次面对曾经的冲突和当地危险的罪犯，为了寻找莫里斯疏远的女儿迪利。

故事根据凯文·巴里撰写的《纽约时报》年度十佳小说改编，凯文·巴里亲自操刀剧本。 　　小说以西班牙和爱尔兰为背景，讲述爱尔兰黑帮莫里斯和查理的故事。他们走私毒品，有着长期的暴力史和错综复杂的个人生活。两人回到西班牙南部，再次面对曾经的冲突和当地危险的罪犯，为了寻找莫里斯疏远的女儿迪利。

影片聚焦1944年5月盟军登陆日之前的48小时。该片由乔纳森·泰普兹执导，卡司包括米兰达·理查森、约翰·斯拉特里、詹姆斯·鲍弗等。目前影片已在苏格兰开机，预计2018年上映。

维吉尔（雅利尔·莱斯佩尔饰）每周到监狱看望他的父亲埃内斯特（让-皮埃尔·卡赛尔饰），他父亲以前是拳击手和拳击教练，他每次向父亲叙述他在拳击场上的成绩。维吉尔每周在监狱里遇见玛戈（莱雅·德鲁克饰），她也来看她望的父亲。饶舌笨拙的维吉尔疯狂爱上了玛戈。有一天，埃内斯特向儿子宣布他即将出狱，这给维吉尔出了难题，因为他对父亲说谎，他已经放弃了拳击。他在一名教练朋友的协助下，重返拳坛，而且勤奋锻炼。他同时征服了玛戈，玛戈在感情上封闭，她在感情上有一条很深的伤痕。

《丘吉尔》讲述1944年诺曼底登陆前48小时内，英国首相温斯顿·丘吉尔周旋于美军、德军以及内心魔鬼几股势力之间的故事。

一个孤独的女孩生活在一个孤立、薄雾笼罩的农场，面对着一个陌生人的到来所带来的变化。。。

Considering all the critical attention Howard Hawks has received over the years it's rather surprising that this film, the sixth he directed, is so little known. Admittedly, FAZIL is not at all typical of Hawks' work and lacks most of his recognizable directorial motifs, and on top of that features stars whose names only buffs will recognize, but it's a beautifully filmed, sumptuously mounted late silent drama that's worth seeing for its production values alone. For viewers of our era the most striking aspect of the film is that its story is based on a culture clash of West vs. East, specifically, the difficulties that arise when a European (presumably secular) woman who prides herself on being "free" and modern marries an Arab man who follows the old ways and is a devout Muslim. This material lies in a danger zone that Hollywood has rarely ventured into, even in recent years, and while to our eyes FAZIL is quite dated and very much a product of its time in its depiction of Arabic culture, it's nonetheless surprisingly even-handed in presenting both sides of the case in a painful divide that, needless to say, is still with us. 　　Two things make FAZIL distinctly un-Hawksian in comparison with most of the director's later work: the emphasis is on the central romance throughout, with only very brief action sequences, and the ending is tragic. Once our lovers meet in Venice we are given many long, languid close-ups of Fazil (Charles Farrell) exchanging looks of adoration with Fabienne (Greta Nissen). They fall in love at a dance --a hint of tragic foreshadowing for Shakespeare devotees-- and then share a gondola ride while the gondolier sings the film's theme, "Nights of Splendor," courtesy of the film's pre-recorded Fox Movietone score. But almost as soon as they are married the culture clash begins, and we never get a sense that the two will manage to overcome their differences: they have entirely opposite notions of what marriage is supposed to be. Fazil believes that love is possession, that a husband commands his wife, and he has no intention of adapting to Western customs, while Fabienne, who is French, considers herself a liberated woman and chafes under Fazil's possessiveness. Neither will compromise. Soon it's clear that tragedy lies ahead, and it's just a question of what exactly is going to happen and when. 　　However daring it may have been for Hollywood to tackle this subject matter in 1928 the prospect of an actual Arab actor taking the title role was apparently out of the question, so handsome young Charles Farrell was cast in the lead. They gave him a pencil-line mustache and darkened his skin slightly, and that was considered sufficient. Farrell gives the role his best shot although he's obviously no more Arab than Barry Fitzgerald. His performance is generally restrained and seems to improve as the film goes on, that is, after an early scene in which he indulges in unfortunate eye-popping histrionics when he first sees his leading lady. The beautiful Greta Nissen, who was Norwegian, might not have gotten this role in a talkie but she's perfectly well cast here, and gives a sensitive, nuanced performance. Both Fabienne and Fazil have their faults but neither is presented as the villain of the piece, which is refreshing but also deepens our sadness and frustration as their relationship falls apart. 　　This film isn't for all tastes, and Howard Hawks fans familiar with his later work may wonder if it was truly directed by the same guy who made THE BIG SLEEP and RIO BRAVO, but for viewers willing to adjust to a more romantic (even "soapy") sensibility this is a movie well worth seeing, especially for those interested in the culture clash issues at the heart of the story, and in the way Hollywood has portrayed the Arab world. Film buffs interested in the late silent era will most definitely want to give this one a look. 　　FAZIL is a slow paced film about an Arab prince falling in love with a French blonde bombshell. The culture difference between modern Paris and the old culture of the primitive hot desert makes marriage life difficult for the characters played by Charles Farrell and Norwegian blonde Greta Nissen. FAZIL was distributed as the sound era was breaking its silence and the film seems a bit old fashion for its time. But Fazil has some beautiful close ups of its stars and the music throughout is moody. Worth seeing for Howard Hawks direction and a glimpse of Nissens beauty. Apparently Hawks had problems convincing Farrell and Nissen to make their love scenes more steamy. So he toke them both aside and told them separately to get busy. The advice paid off. Next project for Greta Nissen was as leading lady in Howard Hughs HELLS ANGELS which first was filmed as a silent. He decided to re-shoot the dialog with sound but Nissens heavy Norwegian accent did not fit the role as an English Lady. She was replaced by newcomer Jean Harlow. FAZIL was thought lost, but has surfaced and become in demand at various film festivals.