帝政ロシア下のシベリアで親を亡くしたポーランドの子供たちを、ポーランドの要請を受けて日本が受け入れることになった。 　　大阪赤十字病院の看護婦である青木葉子（竹内結子）はポーランドの子供たちの収容所に勤務することになった。収容所にやってきた子供たちは元気がなく不潔になっていた。 　　医師の柿沼（吹越満）が子供たちの健康診断を始めると、その中に口を開かないカミル（イグナツィ・ザレフスキ）という少年がいた。葉子はカミルの世話をすることになる。 　　その中の少年カミルは葉子に愛を寄せて離れないようにしていた。しかし、舎外遠足で海へ行ったときに今まで不表情・無口だったカミルが初めて笑い、自分の声でしゃべり、自分の名前はレフ・カチンスキであると言った。 　　葉子はこれからレフを引き取ると言い張ったが、総婦長に大反対される。 　　その後、レフは祖国に帰ってから結婚して、再度日本での指揮者として訪れることとなったが、すでにレフは他界していたが、葉子はレフたちの意思を気にしていた。

Chuck brought sorrow to his family when he shot his father who is now a semi-invalid. After 15 years of self destruction, he returns home to seek forgiveness.

本剧以Alan Furst的著名小说为蓝本，由获得艾美奖的编剧Dick Clement和Ian La Frenais改编剧本。 　　1914年，整个欧洲被希特勒纳粹政权的阴影所笼罩。…

The most spectacular Polish spy of the Cold War era, Colonel Ryszard Kuklinski, informs Americans about the Communist Bloc's top secrets in the face of the upcoming martial law.

波兰首部3D片《华沙保卫战》将于9月23日上映。该片反映了1920年波兰人民抵抗苏联红军入侵的著名战役，造价约830万美元，是波兰史上投入最高的影片之一。夹在世界上两个最好战的大国德国与俄罗斯中间的波兰俗称欧洲“垫脚布”——谁出门都要踩上一脚。正是一个多灾多难的国家对历史有种特殊的偏好，广从电影票房上来看，波兰史上最为卖座的四部影片《剑与火》、《塔杜斯先生》、《你往何处去》以及《卡廷惨案》全都是以历史事件为题材的影片。波兰人民的大国理想也只有通过电影这种艺术形式才能得到伸张和舒展。而这部《华沙保卫战》虽然没什么出奇之处，但从气势恢宏的预告片看到波兰的诗人、歌女、神父统统揭竿而起，对苏联两位领导人描绘也是“举重若轻”，倒流露一丝浑不吝的气魄。

西班牙先锋导演Pere Portabella的代表作之一,这可不是波兰的华沙而是西班牙的"华沙"... 　　http://www.pereportabella.com/ 　　Pere Portabella (b. 1929, Barcelona) is a veteran Spanish filmmaker whose narrative features—rich in interludes, plot diversions, atmosphere, and unexpected synchronies between sight and sound—limn the avant-garde and expand the expressive potential of cinema. Portabella, who began his cinematic career as a producer of fiction films implicitly critical of General Francisco Franco, had his passport revoked when Luis Buñuel's Viridiana (1961), which he helped to make, "embarrassed" Spain at the Cannes Film Festival in 1962. When democracy returned to Spain, Portabella served as a senator in the Catalan government. However, throughout his various careers, Portabella continued to make cinema, investigating meaning in the moving image and flexing the notion of genre—particularly for horror films, fantasy films, and thrillers. 　　Warsaw Bridge. 1990. Spain. Directed by Pere Portabella. The idea for Warsaw Bridge, a less conceptual film than Accío Santos, started from a line in a newspaper: "The body of a scuba diver was found in a burnt forest." Portabella elaborates narrative fragments from this kernel in a procedure that recalls that of the French nouveau roman. Made as the Cold War was ending, the film critiques the Spanish intelligentsia's indifference to political and historical change. 　　Warsaw Bridge is dated 1989, the year of the fall of the Berlin Wall. If the predominant look in Nocturno 29 was that of the upper classes in the sixties, in Warsaw Bridge we have shining images of the new intellectuals and the amnesic, progressive, European political classes. But beneath that sparkling surface of spectacular socio-cultural events and the frivolous life in a happy Europe, lies the tension of broken memories and personal and historical cataclysms. Filmed as meticulously as contemporary commercial cinema, Warsaw Bridge shatters the plot into a thousand fragments in a European landscape broken by the return of History. It is therefore not strange that two years later Godard should be the author of a sibling film, Germany Year 90 Nine Zero, explicitly the heir to Rossellini’s Germany Year Zero in 1947 post-war Europe. 　　Regardless this film is incredible visually and emotionally. Definitely not for the fan of Hollywood films, or even independent films, or actually any film with any type of structured narrative. But if you let the film take you and suspend and expectation the reward is very worthwhile.

一位年轻的画家瓦伦汀，迷失于虚构的世界，偶遇其祖母尼娜。在相聚的几天中，他们漫步于梦幻巴黎的各个街头。瓦伦汀告诉她，他对爱的力不从心。然而，尼娜不愿叙述她痛苦的过去。但为了减轻瓦伦汀的精神负担，她最终谈及了她被关押在集中营的悲惨遭遇。在清晨的阳光下，瓦伦汀试图在他的画作上增加新的色彩，并开始真正的生活。

Bugs Bunny is hunted by Hiawatha, a stereotyped Native American who fills roughly the same role as Elmer Fudd in other Bugs Bunny cartoons of this era.

In 1943, in Warsaw, the Jews Alek (Lambert Wilson) and Fryda (Julie Delpy), escape from the ghetto through the sewer tunnels. Alek leaves his wife Fryda in a church and looks for help. Stephania (Hanna Schygulla), a German Christian woman of about forty years old living alone, gives shelter and food for Alek. In the night, they have an affair, and Alek, wanting to keep the protection of Stephania, lies to her. He say that Fryda would be his little sister, and Stephania brings her from the church and lodges both of them at her home. Fryda becomes jealous with the situation and performs all sort of betrayal and cruelties against Stephania. Her final revenge leads the trio to a tragic end. This movie is a tragic drama about choices in life for surviving, supported by the outstanding performance of Julie Delpy, Lambert Wilson and Hanna Schygulla and the magnificent direction of Janusz Kijovwki. Stephania chooses for helping the Jews Alek and Fryda in an occupied Poland. Alek chooses for not telling the truth about Fryda to Stephania. Fryda chooses to double-cross Stephania and Alek. Stephania chooses to have a baby. Alek chooses Stephania. In the end, he chooses for risking his life for Fryda.