When the remains of an apartheid-era policeman are discovered 60 years after he went missing, a retired singer revisits her past to help with the investigation. But how much does she know, and what is she holding back?

日本投降前夕，精心打造中国女特务白玉兰，进行各种诡秘神奇的间谍训练，勾结潜伏的武装匪徒对我民主政府进行一系列破坏，并从事军火和军事机密等特务活动…… 　　我军历经艰苦，付出沉重代价终于将这个“神秘的女人”捕获，其故事扑朔迷离，动人心魄，悬念叠生，极为耐看

It tells the story of Enric, who is heavily impacted by a viral video of a Christian pop band made up of five sisters.

It tells the story of Enric, who is heavily impacted by a viral video of a Christian pop band made up of five sisters.

生死一线隔。此时，在常去的酒吧里，戈松喝了不少威士忌，周围还是那几个活物。受伊克萨贝尔和她的填字游戏魔法的牵引，戈松穿过了他们之间那条充满不详的走廊……

Dubbed "the most Catholic of all film directors" by one critic, I guess it was only a matter of time before Roberto Rossellini tackled the life of Christ on celluloid. Ironically, this he did in what proved to be his last feature film which was, in itself, a follow-up to his TV mini-series ACTS OF THE APOSTLES (1969). That earlier work was interesting for treating little-known passages from the New Testament but, with an unhurried pace and a generally unassuming tone, the end result was decidedly meandering. Conversely, THE MESSIAH presents all-too-familiar events – with the overall effect feeling lengthy still, yet distinctly more cinematic. That said, it starts off with the arrival of the Jews in the Promised Land and the appointment of their first king (Saul) before moving on to the life of Christ; actually, this is also one of the few films to show the famous incident in which Jesus is lost in the temple as a boy. Unsurprisingly, it doesn't stray much from the spirit – or word – of the Gospels: even so, in the throes of an agonizing death, Herod The Great (played by Vittorio Caprioli – though his trademark flustered demeanor is downplayed by having his voice dubbed) is seen planning the annihilation of his own subjects akin to the practice of ancient Egyptian rulers! 　　Incidentally, the rich and commanding voice of Christ himself is supplied by Enrico Maria Salerno – a superb actor in his own right who had actually already handled the very same task in THE GOSPEL ACCORDING TO ST. MATTHEW (1964) – which is effectively contrasted with the inconspicuous appearance of the young man who appears in the role (perhaps best approximating the Lothaire Bluteau of Jesus OF MONTREAL [1989]). This Messiah, then, is far removed from the striking good-looks of Jeffrey Hunter (KING OF KINGS [1961]) and Robert Powell (the Jesus OF NAZARETH [1977] TV mini-series) or the brooding power of Max von Sydow (THE GREATEST STORY EVER TOLD [1965]) and Willem Dafoe (THE LAST TEMPTATION OF Christ [1988])! Naturally, the bulk of the narrative is devoted to Christ's public life – though no overdue emphasis is placed on the miracles he performed (these are mentioned but rarely seen) – which also provides the film with its essential core…since the latter section, revolving around the more commonly-depicted events of Jesus' trial (where Jean Martin, the French Colonel in THE BATTLE OF ALGIERS [1966], nonetheless makes for a fine Pontius Pilate), crucifixion and eventual resurrection are curiously skimped here! 　　The subplot involving John The Baptist, however, is quite nicely handled; by the way, the only other recognizable face in the cast is that of Tina Aumont (even if her contribution amounts to no more than a few minutes of screen-time!) as the adulteress Christ famously pardons by denouncing her pursuers instead. The score is, once again, by Mario Nascimbene – though it's not as prominent as his work on ACTS OF THE APOSTLES. On the visual side, the film seems closest to the contemporaneous Jesus OF NAZARETH – yet the lyrical style and quiet dignity on display makes of THE MESSIAH a more than worthy companion piece to Pier Paolo Pasolini's aforementioned (and more renowned) THE GOSPEL ACCORDING TO ST. MATTHEW. With this in mind, while perhaps not the definitive film on the subject, it certainly emerges as an underrated achievement – both among the myriad treatments (including those by such great directors as D. W. Griffith, Carl Theodor Dreyer, Cecil B. DeMille and Abel Gance) of Christ's life over the years and in Rossellini's own highly respected canon.

1946年，英国政府秘密驱逐了几乎所有在利物浦的所有中国水手，而他们的家人毫不知情，包括彼得的父亲。过去的15年间，彼得持续地抗议，要求英国政府为自己的行径道歉。在经历这段漫长而无果的抗争后，一种巨大的虚无感吞噬了他的生活。

1946年，英国政府秘密驱逐了几乎所有在利物浦的所有中国水手，而他们的家人毫不知情，包括彼得的父亲。过去的15年间，彼得持续地抗议，要求英国政府为自己的行径道歉。在经历这段漫长而无果的抗争后，一种巨大的虚无感吞噬了他的生活。

第二次世界大战期间，意大利北部有个专门囚禁一些父母已被纳粹杀害的犹太儿童的集中营。集中营由意大利士兵管理，因而对附近修道院修女救援被囚禁儿童佯装不知。后来德军上校接管了集中营，严加防范，并逐渐知道了修女解救儿童的秘密。他们搜查了修道院，逮捕了相关修女，逼迫她们交代儿童出境路线和游击队员名单。最后当上校要处决院长和修女时，意大利士兵射杀了上校和他的副手，一同投奔了游击队。