史蒂芬是平民出身、经过苦学奋斗，成为英国牛津大学的教授。史蒂芬离开家去和昔日的女友重温旧梦，回来时看到同事查理和名叫安娜的女生在自己家里筑起爱巢，翻云覆雨。史蒂芬对安娜垂涎已久，她是奥国的公主，很大的贵族。一天晚上，史蒂芬发现安娜出车祸晕厥，未婚夫威廉在她身旁身亡。史蒂芬悄悄地把安娜接到家中休养，并趁机占有了她，终于如愿以偿。事后，安娜黯然独自返回奥国，史蒂芬继续与妻子过数十年如一日的单调生活。一切照旧，象是什么都没有发生过似的。史蒂芬认为，安娜同查理的苟且，对史蒂芬来说是平民受贵族歧视的一个证明。后来，史蒂芬自己有机会和安娜温存了，他那种报复式的快感得到尽情地抒发。

In a small New Mexico town, teenager Hilary gets into a fender bender and innocently exchanges her personal information with the other driver, a terrifying and bizarre serial killer who stalks the country’s endless miles of roads and streets with his old rusty car, hungrily searching for his next unsuspecting victim.

史蒂芬是平民出身、经过苦学奋斗，成为英国牛津大学的教授。史蒂芬离开家去和昔日的女友重温旧梦，回来时看到同事查理和名叫安娜的女生在自己家里筑起爱巢，翻云覆雨。史蒂芬对安娜垂涎已久，她是奥国的公主，很大的贵族。一天晚上，史蒂芬发现安娜出车祸晕厥，未婚夫威廉在她身旁身亡。史蒂芬悄悄地把安娜接到家中休养，并趁机占有了她，终于如愿以偿。事后，安娜黯然独自返回奥国，史蒂芬继续与妻子过数十年如一日的单调生活。一切照旧，象是什么都没有发生过似的。史蒂芬认为，安娜同查理的苟且，对史蒂芬来说是平民受贵族歧视的一个证明。后来，史蒂芬自己有机会和安娜温存了，他那种报复式的快感得到尽情地抒发。

国外科学家一直在探索，希望能找到一个方法，让这个世界上不会再有人因为车祸而死亡。 虽然这在目前只是一厢情愿，但是至少已经开始有人在努力了。 本集纪录片带领大家从各个领域探索车祸生存之法。

A group of friends uncover an otherworldly object in a rural field, which they soon discover holds greater secrets than they could imagine.

Wickedly funny and observant slice of life NYC gangster pic, that's decidedly Jewish, quirky and anarchistic. The surprise cult comedy/drama hit was shot in 1969 and put on the shelf when no distributor was willing to take a chance on it when test audiences didn't laugh, but it was released in 1989 to play in the NYC Film Festival. Rave reviews gave this pic a new lease on life, and it got its long awaited theatrical release--only twenty years too late to help the splendid aging unknown cast advance their careers. 　　In this low-budget black and white shot indie, writer-director Michael Roemer ("Nothing But A Man") makes good use of location shots in the Big Apple, exhibits a winsome dead-on droll humor and gets a super performance from Max Priest--the washed-up small-time mob leader with a deadpan expression (perhaps equaling Buster Keaton's) that seemingly can absorb all kinds of bad news without letting on he's in pain. It's like a time capsule pic, as it takes us back to the 1960s when mafioso types were riding around the city in big gas-guzzling Cadillacs, stylish dames were sporting bee-hive hairstyles, Go-Go dancers were in vogue and there was liberal John Lindsay's racially changing NYC that altered forever the way urban America was to be from now on. 　　It's a scream as a cutting satire on middle-class Jewish aspirations, their showy bar mitzvah rituals and of the almost tragic downfall of a two-bit gangster who didn't have the heart for the rough business, just the will to lead a soft life. The cinéma-vérité pic looks authentic even if it's covering familiar territory, and has the balls to make such an unsympathetic low-life criminal as Harry as an almost sympathetic heroic one by the end of the day.

Nesmluvená setkání is the story of a group of astronauts and their Cyborg worker who are assigned to jump from planet to planet in search of suitable living conditions for future inhabitants. Their mission is side tracked one day when they receive a communiqué from Earth requesting that they search and recover a team that went missing 6 years earlier on that same planet. That space craft had crash landed not too far from their current location with a small crew, including a 5-year-old boy: the pilot's son. 　　They soon find their missing colleagues, dead in the rubble and report back to Earth that all information gathered by the previous crew was lost in the crash. They are given the assignment to carry on with that crew's work before heading to the next planet. One night, over dinner, a strange person wonders on to the space craft's flight deck. An 11-year-old boy (Petr Ricanek), with nothing but magical branches he uses as weapons, and a dirty, shaggy look comparable to a caveman. Through a series of flashback sequences we see that this boy is the dead pilot's son, and survived the crash with only a few cuts. A storm is brewing outside the ship, and nasty space storm at that! Worried for the boy's safety, the crew's captain (Jan Jacer) heads out to find him

我Thomas（Ioan Gruffudd饰，年青时期由Billy Gunnion饰演）爱上了一个玫瑰般的女孩。在我们这所蔚蓝海岸的高中里，她，Vinca（Ivanna Sakhno饰），是最受欢迎的女生。二十五年前的一个暴风雪之夜，她消失了。有人看到她和她的秘密情人出现在巴黎的酒店，那是她最后的踪迹。 　　在同一个夜晚，我和好友Maxime（Grégory Fitoussi饰，年青时期由Loyan Pons de Vier饰演）失手犯下一桩杀人案，并将受害人的尸体藏在学校体育馆的墙壁内。二十五年后，背负秘密的我成了一名畅销书作家，Maxime则正在竞选议员。这时传来消息，我们的母校突然决定翻修，旧的体育馆要被拆除，秘密即将败露，我回到镇上，决定接受命运的审判。 　　紧接着，我和Maxime陆续收到匿名恐吓信，学校里我弃用多年的储物柜里发现巨款，我的家人也遭遇意外，我们发现事情绝不是看上去那么简单。当年知晓个中秘密的人几乎都已不在人世，是谁在背后操控这一切？那个黑夜究竟掩埋了怎样的真相？而我们的人生是否行将分崩离析？

Wickedly funny and observant slice of life NYC gangster pic, that's decidedly Jewish, quirky and anarchistic. The surprise cult comedy/drama hit was shot in 1969 and put on the shelf when no distributor was willing to take a chance on it when test audiences didn't laugh, but it was released in 1989 to play in the NYC Film Festival. Rave reviews gave this pic a new lease on life, and it got its long awaited theatrical release--only twenty years too late to help the splendid aging unknown cast advance their careers. 　　In this low-budget black and white shot indie, writer-director Michael Roemer ("Nothing But A Man") makes good use of location shots in the Big Apple, exhibits a winsome dead-on droll humor and gets a super performance from Max Priest--the washed-up small-time mob leader with a deadpan expression (perhaps equaling Buster Keaton's) that seemingly can absorb all kinds of bad news without letting on he's in pain. It's like a time capsule pic, as it takes us back to the 1960s when mafioso types were riding around the city in big gas-guzzling Cadillacs, stylish dames were sporting bee-hive hairstyles, Go-Go dancers were in vogue and there was liberal John Lindsay's racially changing NYC that altered forever the way urban America was to be from now on. 　　It's a scream as a cutting satire on middle-class Jewish aspirations, their showy bar mitzvah rituals and of the almost tragic downfall of a two-bit gangster who didn't have the heart for the rough business, just the will to lead a soft life. The cinéma-vérité pic looks authentic even if it's covering familiar territory, and has the balls to make such an unsympathetic low-life criminal as Harry as an almost sympathetic heroic one by the end of the day.