During the final months of World War II, a Nazi officer assigned to protect the war-torn frontline in the Netherlands decides to risk his life to protect a Jewish family in hiding.

Betrayal tells the story of the German-Dutch Ludwig Mengelberg, an officer in the German army who holds the nickname of 'Der Fliegende Holländer'. Mengelberg finds it increasingly difficult to cope with the horrors of the war and when his wife and daughter are killed in a bombing, he makes a drastic decision. When he is transferred to the Netherlands, he decides to help a Dutch farm family covering up people in hiding. In doing so, he commits high treason against his own men. When the SS becomes suspicious and the resistance advances, Mengelberg not only puts his own life in danger, but also those of the people he aims to help.

"Os Violentadores de Meninas Virgens" is a trashy and cheesy Brazilian crime movie from Boca do Lixo. There are many scenes of explicit sex where the penetration are visibly edited and with woman that are probably prostitutes from the Boca do Lixo, but the most hilarious is that they are described as "virgins" in the plot.

The story revolves around Pamela, as a woman in late-1800's England who has no intention of marriage and wishes to be her own person. After a great deal of difficulty in finding a job, she finally lands a position at a "woman's" magazine, which covered topics such as sewing and cooking. After the editor takes sick, she moves the magazine into discussing issues of gender equality, child labor, medical care, and finding a job. She then finds herself as the unexpected leader of a movement. After an unexpected event, she is also faced with raising a child without a father, which people at that time thought was scandalous. 　　—Taed Nelson 　　In Victorian England, Pamela Thistlewaite bucks societal notions of what it means to be a young woman, much to the exasperation of her strict father, Judge Byron Thistlewaite. The Judge believes, as do most in his generation in this society, that females are inferior to males, and should learn to do only things that will serve the men in their lives. Pamela, a feminist, vows to herself that if she ever were to become a parent, she would be nothing like her father, and that she would be open and honest with her children. What the Judge decides to do to deal with both his daughters, the other being more subservient Flora Anne who feels torn being following the word of her father or her sister, is to marry each of them off to a man to which he approves. The Judge does approve Flora Anne's choice, naval officer Lieutenant Alan Freeland, the marriage to take place immediately if only to accommodate his military service. Pamela secretly starts to see a young man named Lord Gerald Gaythorne, the two who fall in love. Out of circumstance having nothing to do with the Judge however, a marriage between the two will not happen. For various reasons including having someone to commiserate with and because Flora Anne is pregnant, Pamela decides to take an extended vacation to Italy where the Freelands now live. By the end of Pamela's close to year long stay in Italy with her sister, she obliges Flora Anne's request, made due to the circumstances, to take her daughter, also named Flora, with her to raise her back in England. Unmarried with a child to care for, Pamela decides not to move back with her father, but live independently in London. Finding work is difficult as most employers are unwilling to hire a woman. However, she manages to negotiate a job working at a small women's weekly magazine, the type of publication which advanced the stereotype of the subservient woman she so abhorred. Based on the plight of a young woman who visits the magazine office, Pamela seizes on an opportunity to transform the magazine into one that advances her feminist views. Through this period of her life, Pamela falls in love with British diplomat Thomas Lane, a friend of her brother-in-law. Thomas wants to marry Pamela, who will not do so only because she is keeping a secret related to Flora. The situation gets more complex when Pamela becomes reacquainted with Lord Gaythorne. 　　—Huggo

《爱的契约》讲述了美丽、干练、孝顺的汽车销售经理钱菲菲，为满足父亲遗愿，在身体和财产双重透支的情况下，筹备着“贵族式婚礼”，然而突如其来的车祸…

艾勤奋是一个穷得叮当响的淘宝店主，为了给妹妹凑齐学费，将祖传的花瓶抵押给朋友胡光子，然后载着一车货物到郊区清仓甩卖，却在半路将钱霏霏撞成了重伤。钱霏霏是4s店的销售经理，女强人，未婚夫周展名借她的钱炒股，令本来就因筹备婚礼而拮据不堪的钱霏霏捉襟见肘。幸好一桩大生意即将敲定，合约签订就会拿到高额提成，但就在前往郊区的途中，发生了车祸……

事业有成的男主角彦彬被诊断出不治之症，突如其来的噩耗让他对自己的人生产生了怀疑，一场酒局后，彦彬发现自己和兄弟莫名身处渺无人烟的荒原，在赶回手术台路上发生的一系列奇葩爆笑的故事。

事业有成的男主角彦彬被诊断出不治之症，突如其来的噩耗让他对自己的人生产生了怀疑，一场酒局后，彦彬发现自己和兄弟莫名身处渺无人烟的荒原，在赶回手…

Mirella，一个闷热的中年数学老师，爱上一名学生，阿兰。但她资产阶级的成长经历来阻碍这梦幻般的爱，直到她发现，她最好的朋友和年轻的男人做爱。

"It’s kind-of small town and big boredom…” is the sharp judgment that a character in Jozef Zachar’s film, Contract With the Devil, passes on any Slovak town (including its capital city). At the point when storyline examines and explains the events that have already taken place, this comment reveals the main theme of the film, namely the forms of our boredom, the protagonists of our boredom, and what to do about our boredom. It is a theme that many viewers by the end of the 1960s appreciated as interesting, provocative, or daring. However, Zachar’s film certainly does not mark a breakthrough in filmic resolution of the theme. More than anything else, this trifle of a comedy—popular with viewers—is an interesting and emblematic battlefield of carelessly wasted opportunities. It holds viewers’ attention through a series of mere hints at insubordination to the societal constraints imposed or petrified by Communism. But the unfinished, careless filmic execution of those hints shows in high definition, so to say, the limits of many filmmakers’ thinking during the precious period of relaxed Communism in the 1960s. 　　The storyline is mundane, or as Pavel Branko characterized it, “a prurient story calculated for commercial success. [1] ” It begins with the discovery by high-school officials that five female students left erotic photos (presumably theirs) in a classroom, along with a contract with the devil that they would lose their virginity before graduation. Their parents’ reactions range from “Our Eva has the best upbringing, austere and Christian… and Communist!” to “I used to have a body like this, too!” The parents try to annul the contract with the devil by their own avowal to supervise and discipline their offspring more severely. But the girls run away from the gynecological exam that was to confirm their virginity, and from their model homes and school. What follows is a series of episodes of their “courageous,” hopeful, as well as embarrassing attempts to breech the interdiction imposed by the two basic educational institutions—school and family. 　　The film’s wasted potential is most palpable in two scenes that strive to assault the viewers’ presumed, unprincipled, small-town provincialism, summed up in the phrase “don’t get involved and you’ll be fine.” These scenes are “counterattacks” against the operation of schools and families. The first scene is a variation on the device of a film-within-a-film: a family screens their “morally uplifting” 16-mm home movie for Marcela, one of the girls. The father operates the small gadget, the family projector, hoping to affirm the workings of the basic societal contraption, the family. However his projector, just like his family, keeps breaking off. 　　The second scene is the party at the home of the son of “big-league parents,” where Emma, another of the girls, performs a striptease. According to The History of Slovak Film, at that time “formerly quite prudish filmmaking, which, of course, tabooed a naked female body in the name of Communist—and Catholic—norms, now incorporated striptease and love scenes that were not exactly copied from a handbook of appropriate behavior.”[2] But the erotic charge of the scene is not the only issue. The interesting, tension-creating polarization between the characters (abandon versus corruption), the use of characteristic dialogue, and the overall, vividly acted “playfulness”—all of these contain the potential for a better film. The daring culmination of the scene is not the image of a naked student, but the heretical burning of a cross in a glass of cognac that is set on fire. 　　The paradoxical reception of Contract with the Devil at the time of its release is often forgotten. While Juraj Jakubisko’s Crucial Years (also known as Christ’s Years; Kristove roky, 1967), released in the same year, was met with acclaim by reviewers and has remained a common topic in works on Slovak cinema, at the same time its popular reception was lukewarm, attendance low, and some viewers even criticized it as immoral. By comparison, Contract with the Devil generated good ticket sales. On the one hand, this was indicative of the level of the relaxation of communism in 1967, but also, on the other, of the degree to which Contract with the Devil was behind the times: the film, which clearly intended to offend what it saw as ossified prudish morality, actually received praise from Ctibor Štítnický, the communist-appointed Director of the Koliba studios, as a “decent” film, both in terms of its commercial success and its content. [3] Paradoxically then, Contract with the Devil, conceived as a piercing thematic breakthrough, merely became a popular entertainment film by the time of its release due to the quick pace of political changes in the country, and it did not contain enough artistry to sustain a reputation among cinéastes afterwards.