本片记录了全运会第一日至第七日间的各项精彩活动，其中包括足球、田径、铁饼、掷矛、篮球、蒙古摔角等比赛，还有三千名儿童表演太极操的场景，以及各项比赛的颁奖情况。

一位著名的驱魔人和一位菜鸟牧师组成团队，来对牧师进行训练。当他们深入这个世界上的地狱时，善与恶的边界变得模糊，他们自身的恶魔也显现出来。

本片记录了生活在布鲁克林日落公园的一群无证移民七天的生活。他们是自行车送货员、建筑工人、洗碗工、熟食店员工和棉花糖小贩，每周工作六天、工时漫长，而后在周日的日落公园足球场上尽情享受休息日。自行车送货员何塞是球队的队长——年轻、有天赋、勤奋且富有责任感。当何塞的球队闯入决赛，他与队友们欢欣鼓舞。然而老板却告知何塞必须在周日——决赛当天——工作，这搅乱了庆祝气氛。如果他不上班，工作和未来都将岌岌可危；但如果他不为自己和队友挺身而出，他的尊严将遭受践踏。[Cinema Guild]

chinese movie

The young priest goes to the barber where he meets temptation... First movie of István Szabó (he was still a student - 3rd grade when he's directed it).

阴间使者玄烬接下终极试炼，在49天内收取阳寿将尽的贝微微的魂魄，便可继任阎神。可当他遇见这个背负血海深仇、坚韧倔强的女孩，尘封的记忆开始苏醒，原来他正是贝微微念念不忘的已故男友陈明宇。一边是冥界铁律与赤焰的阻挠，一边是此生挚爱的安危，玄烬屡次打破规则护她周全。从古堡相伴到公司夺权，从以寿换力到舍命相救，两人在阴阳两隔的边缘拉扯，用深情对抗宿命，用复仇祭奠过往。

提到1949年10月1日，很多人的记忆多停留在开国大典中的经典画面。然而，在1949年10月1日当天发生的事情，却远比影像中记录的更加丰富多彩。 纪录片以1949年10月1日开国大典为时间核心，以天安门广场为空间核心。尝试将一个个不同的微观记忆，锁定在宏大的历史背景下，用众多个体的故事，组成并还原1949年10月1日当天的中国。 区别于传统历史文献类纪录片的叙事结构，《第一日》避开传统的宏大叙事，将叙事核心聚焦在开国大典一天，并将视野聚焦在那些曾经亲历过开国大典的普通人身上，从亲历者的个体记忆辐射开来，对历史进行解读，讲述中华人民共和国成立的故事。

遭遇新婚丈夫背叛、内心充满创伤的女法医姜至，意外在解剖台上重逢消失多年的“丈夫”的尸体，熟悉的脸睁开眼，却说自己叫周凡，是一个失去记忆的“云游者”少年。 原来姜至意外成了可以看见“云游者”的特殊人类。因为七日生死的羁绊，姜至与周凡开始了限定七日、关于爱与救赎的奇妙旅程，在一次次化解“云游者”们执念的奇遇中，也帮助彼此解开心结，找回了属于他们的人生和真相。

As an faithful adaptation of Kruczkowski's work, this movie works fine. Most of the time it succeeds in avoiding the static, theatrical feeling of the play. Ford was acknowledged master of the spectacle, and it shows here. Some of the scenes are impressive. The dramatic finale is almost as good, and it contains Ford's usual trademark: the house with devastated, winding stairs. As a symbol it's in the right place, as it represents the sad aftermath of war. All in all, "The first day of freedom" is maybe not a masterpiece of The Polish Film School, but a quite satisfying entry. Unfortunately, this was Aleksander Ford's last Polish movie. In 1968 he was condemned by authorities because of his Jewish origins and expelled from the country. This fall from grace has the devastating effect on him. He has never recovered from depression, and all his foreign, ill-fated movies are the testimony to it. Once a Car, now an outcast, he committed suicide in 1980.

This apocalyptic parable carries within it a clear echo of the 1968 invasion of Czechoslovakia. This unforgiving exploration of the Czech mentality tells the tale of a troupe of wandering actors who perform a passion play in some unnamed village. Fear of some unknown danger breaks out in the village, which is cut off from the surrounding world. Stupidity, selfishness and aggressiveness then come to the surface in this society under threat. In the film's key scene, a woman is raped by the self-styled leader. Zdenuk Mahler, who would later work on Forman's examination Mozart Amadeus, worked on the script. The director Evald Schorm (1929-1988) was one of the most original members of the Czech "New Wave". During the "normalization" era, Schorm spent many years unable to direct. His last film, Killing with Kindness (1988) was only made in the twilight years of Communism. During that period when he was unable to direct films, he became an outstanding stage director. He directed groundbreaking productions at the "Na zábradlí" Theater and Laterna Magika.