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

我因厨艺被送入东宫，照料孱弱太子。初见时他性情暴戾，掀翻菜肴斥责我，我默默收拾后重做一桌，渐获他认可。九年里，我悉心照料、百般迁就，将太子养得康健威猛，他对我十分宠爱。皇后戏言太子成婚后抬我为妾，太子还赠予我金钗，被众人视作定情信物。可他定亲后性情骤变，罚我跪雪地，对我为蒙冤好友的求情置之不理，这份无情将我推向未知深渊。。

Apparently Amalie has everything, but one day it collapses, and she has to move from it all - then she meets Mikael, a hip-hop dancer, good at battle.

At fictitious Tait University in the Roaring 20's, co-ed and school librarian Connie Lane (June Allyson) falls for football hero Tommy Marlowe (Peter Lawford). Unfortunately, he has his eye on gold-digging vamp Pat McClellan. Tommy's grades start to slip, which keeps him from playing in the big game. Connie eventually finds out Tommy really loves her and devises a plan to win him back and to get him back on the field.

《讓愛飛揚》是以引領潮流的夢想行業–航空飛行學校為主軸，主場景將拉到台東拍攝。寇世勋和儿子寇家瑞分饰飞行学校老师跟学生，虽然不是父子，仍有许多对手戏，让影迷相当期待。他分享说：“我们有先在家中沟通，抛开父子的关系，我只是他的前辈，彼此都比较自在。”

《讓愛飛揚》是以引領潮流的夢想行業–航空飛行學校為主軸，主場景將拉到台東拍攝。寇世勋和儿子寇家瑞分饰飞行学校老师跟学生，虽然不是父子，仍有许多对手戏，让影迷相当期待。他分享说：“我们有先在家中沟通，抛开父子的关系，我只是他的前辈，彼此都比较自在。”

讲述二战期间，英军招募多国背景的突击队员组成特别行动小组，空降至比利时敌后执行秘密营救任务。

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

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.