When his grandfather's drive-in cinema and home in the outback town of Wyndham is threatened with demolition, a twelve-year-old Aboriginal boy must journey through Australia's bush country — equipped only with ancient survival skills — to stop the city developers.

来自《过道》（In the Aisles）广受赞誉的导演之手，带来三个关于爱情不可能的故事。

当联合国无视停止在大气层中组装首颗卫星的警告时，一股“未知力量”向地球宣战。

根据伦敦西区舞台剧《通讯卫星》（Telstar）改编的同名影片，该片将讲述英国60年代著名音乐制作人乔·米克（Joe Meek）生平故事，片名“Telstar”（通讯卫星）是其制作的最得意的歌曲的名字。曾主演舞台剧版本的康·奥尼尔（Con O'Neill）将扮演继续乔·米克，凯文·斯派西将扮演其理财顾问Major Banks。

The extraordinary journey of a soldier that brought a nation together. It stars Sooraj Pancholi and Megha Akash in the lead roles and is directed by Irfan Kamal.

1906年，天文学家罗威尔(percival lowell)声称他在火星表面观察到的线条应该是火星运河；这些运河由某个历经乾旱肆虐的文明设计，目的是从火星极地冰冠引入水源。虽然理论有牵强附会之嫌，但反映核心问题深植人心，我们在宇宙中是否独一无二？那些贫瘠不毛、冰冷或炎热的外星世界，是否也有生命存在？如果有，是怎样的生命形态？其实关键在於无论其他地方有没有生命，都要寻找它们；现在我们已经有办法在太阳系内实现这个想法，火星仍然是我们的重点目标，最近的火星任务，就是在这个乾旱邻居上寻找生命迹象；而火星以外的世界，同样也有生命存在的可能。

講述膽小的奶牛和機器人少女為從黑色怪物的手中拯救世界而冒險的故事。

阿达曼是一位电脑专家，某天，他搭乘航天飞机前往杰威空间站执行任务。让他没想到的是，在空间站等待他的竟是敌人冰冷的枪口。阿达曼遭到了绑架，绑架者来自塔伦斯坦，他们的国家正面临来自俄罗斯的威胁，绑匪企图通过绑架阿达曼，迫使美国当局与俄罗斯进行谈判。同时，绑匪还控制了所有卫星，一旦谈判失败，这些珍贵的卫星就会被摧毁。 为了扭转紧张局势，美国航天局派出了经验丰富的亨德里克上校（丹尼尔·鲍德温 饰）。亨德里克驾驶飞行器，带着三名部下试图突破空间站。然而，面对敌人强大的火力，三名英勇的战士不幸牺牲，这样一来，最后的希望就落在了亨德里克上校一人身上。

A loving father and husband is exorted by an unknown guy and he is about to lose his life, his money and his family.

The Sputmik is missing and a hillbilly thinks that it had just fell in his backyard. He becomes famous and he and his wife are introduced to the 'High Society' while the CIA, the KGB and the French wants to lay their hands in the Sputnik, by all means necessary. That's the plot. What happens in the movie in fact is a series of jokes about the Brazilian High Society and how the world perceives the Brazil. It's plenty of stereotypes, true, but this is also part of the fun (Jo Soares as a CIA agent who can't stop chewing chewing gum and Norma Bengel as B.B., sexy French agent, are memorable). Lots of funny moments all along the way including its purposely 'open end'. Carlos Manga's comedy O homem do sputnik (1959) represents a significant shift in his attitude towards Hollywood, Brazilian cinema and his own identity. He had become aware of the fact that the influence of American cinema had in some ways been detrimental to his own career, admitting that: "nao era a minha raca, o meu país - entao me revoltei contra isso" (Manga 1983, 30).