《夜郎传说之面具判官》以贵州夜郎古国的悠久传说为背景，通过“一副面具，一段传说，一次延续传承的历程”贯穿始终，延续傩戏面具、蒙面判官的神秘特质，谱写了一场国民英雄的爱恨情仇的故事。 　　早在千年的东方神秘国家--夜郎国，原本生活的幸福美满，却被异鬼族的侵犯而打破了原本的平静，于是夜郎国国师便带上了汇聚了能量与正义的面具惩奸除恶，而面具判官的身份也流传到了后人金逸飞这一代。与此同时，异鬼族的首领佐昂也从未放弃重振异鬼族，于是，一场时代纠葛的大战就此展开。

THE FACE BEHIND THE MASK, while generally regarded as a horror film, is not a pure example of the genre, and that is the very crux of its interest. Rather, it addresses topics outside the expected parameters of horror, and in offering an uncompromising view of human anguish, THE FACE BEHIND THE MASK is a truly unusual picture in both content and treatment. THE FACE BEHIND THE MASK relates how a hopeful new immigrant, Janos Szaby (Peter Lorre), arriving in New York City, is trapped in a hotel fire that leaves his face hideously scarred. Ostracized and refused employment although still able to work, the only way he can survive is by turning to theft. Hence, THE FACE BEHIND THE MASK is also a social consciousness film, detailing the position of the outcast and particularly the handicapped in society, along with crime and its causes, and the American immigrant milieu. All of these themes are treated with sympathy and taste, avoiding the gruesome potential of the premise. The only people who are kind to Janos are a tubercular small-time thief, Dinky (George E. Stone) and a blind woman, Helen (Evelyn Keyes). Janos falls in love with Helen as her soul sees the goodness within him, but the gang refuses to let Janos quit the rackets and kills her. This leads to a memorable denouement where Janos has suicidal revenge by flying the gang to the desert and marooning them all amid the sandy wastes, where he can watch their dying torment. The actual screenwriter of THE FACE BEHIND THE MASK gives a clue as to its intent: although the writing credit on screen was given to two men, Allen Vincent and Paul Jarrico (from a story by Arthur Levinson, based on a radio play by Thomas Edward O'Connell) the scripts indicate the picture was in fact written by Irmegard Von Cube, who explored similar themes in JOHNNY BELINDA (1948). Appropriately, the style also deemphasizes the horror elements, with a naturalized version of director Robert Florey's expressionistic tendencies, as in the waterfront scene when Janos and Dinky first meet. The abstract acting required by the mask, together with Lorre's costume, themselves become expressionistic devices. Moments of high tension are appropriately punctuated by director Florey's typical angled shots, as when Janos first sees his face after the bandages are removed, or when he tries to rescue Helen from the gang's car bomb. THE FACE BEHIND THE MASK was dependent on a strong and capable performance in the lead, and Lorre proved ideal in one of his best roles. He not only had to portray a man disintegrating under a terrible fate, but also had to exercise incredible control over his facial muscles, allowing him to only express emotion through his eyes in close-ups. Lorre simulated a mask where there was none, and the effect is achieved by white powder and two pieces of tape placed on his face, contrasted with his costume of black jacket and scarf, and enhanced through lighting. This was all the more remarkable in that Lorre was uncomfortable with the fast schedule and began his drinking with a straight Pernod for breakfast, so that by the afternoon he had became undirectable. As a result, Florey had to try and juggle the schedule so as to get all of the star's primary scenes in the morning. In the supporting roles, Stone and Keyes were equally memorable, as were the character actors in the remaining roles, together demonstrating the possibilities for fine acting despite the pressures of a two week shooting schedule. This was the fourth time Florey had dealt with an unusual theme, the effect of facial mutilation on men's lives, also depicted in his FACE VALUE (1927), THE FLORENTINE DAGGER (1935), THE PREVIEW MURDER MYSTERY (1935), and later in his television episode ALFRED HITCHCOCK PRESENTS: WHERE BEAUTY LIES (1961). Florey was engaged by Columbia in late 1940 on a deal for three so-called "action pictures," movies made on low budgets in twelve days. The first two, THE FACE BEHIND THE MASK and MEET BOSTON BLACKIE (first in the series), took two months to prepare--Florey was able to revise the script of THE FACE BEHIND THE MASK and write the continuity--and were shot back-to-back. Such a hasty schedule was especially difficult for a picture that required extensive location shooting. The cameraman was the talented Franz Planer, lately arrived from Germany, and still unaccustomed to working at the Hollywood pace, requiring that many shots be sacrificed because of the time lost in lighting. Today, Florey is best remembered for his other work in the horror genre, including coauthoring the script of the original FRANKENSTEIN (1931), writing and directing MURDERS IN THE RUE MORGUE (1932), and directing a later Peter Lorre classic, THE BEAST WITH FIVE FINGERS (1946). Florey was a key figure in adapting the German expressionism and other European styles into Hollywood film-making before the cycle of film noir, and THE FACE BEHIND THE MASK reflects an ideal mid-point, both using such techniques but also adjusting them to the needs of a genre-driven industry. Despite its modest origins, THE FACE BEHIND THE MASK is widely acknowledged to be among the greatest "B" films ever made, and one of the few to offer profundity and depth in theme and characterization, as well as artistry in its writing, direction, and acting. While containing elements of several genres--horror, social consciousness, gangster, and romance--the film transcends all of them. THE FACE BEHIND THE MASK won favor from both critics and audiences, and a small following in its time that has grown in the intervening years, an exceptional record of success for a movie made so inexpensively. The film remained in continuous showing for two years after it was released in 1941, and was later theatrically reissued on numerous occasions, as late as 1955, before it began to be shown on television.

《暗影之面》是一部心理惊悚片，深入讲述了年轻女子索菲的悲惨经历。她在一座偏僻的小木屋中寻找浪漫的避难所，却发现自己陷入了一场超自然的噩梦。她发现了祖传的契约，其中涉及她的未婚夫卡尔，这引发了一系列无法解释的事件，使她完全处于黑暗势力的摆布之下。索菲被困在小木屋里，面对可怕的幽灵、可怕的谜语和可怕的生物，迫使她揭开困扰着这个地方的隐藏秘密。当索菲为自己的理智而战时，她发现古老的曼陀罗是她生存的唯一希望。

《暗影之面》是一部心理惊悚片，深入讲述了年轻女子索菲的悲惨经历。她在一座偏僻的小木屋中寻找浪漫的避难所，却发现自己陷入了一场超自然的噩梦。她发现了祖传的契约，其中涉及她的未婚夫卡尔，这引发了一系列无法解释的事件，使她完全处于黑暗势力的摆布之下。索菲被困在小木屋里，面对可怕的幽灵、可怕的谜语和可怕的生物，迫使她揭开困扰着这个地方的隐藏秘密。当索菲为自己的理智而战时，她发现古老的曼陀罗是她生存的唯一希望。

Faces of Death系列纪录片的幕后花絮。

时值松本清张先生诞辰100周年之际，可以看作是他的原点的短篇作品“颜”电视剧化了。 　　昭和31年的东京，一文不值的井野被选为同一剧团的当红女演员瞳主演的电影大作的配角。之后，开始了他的明星之路。但是，井野有着不为人知的过去。由于电影《颜》的热映，井野担心他的过去会被曝光，所以在他心中萌生了一出抹杀过去的剧情。 　　电影描绘了井野徘徊在作为明星拥有的荣耀与害怕过去被人所知的恐惧间的故事。

一位台灣導演被邀請到羅浮宮，拍攝聖經故事「莎樂美」。他堅持邀請心儀已久卻傳聞精神狀況不佳的法國影帝尚皮耶李奧，演出劇中輾斷聖施洗約翰頭顱的希律王。這部低成本的製作為顧慮電影票房，硬著頭皮請來國際名模演出莎樂美。 　　影片才剛開拍就狀況連連。牡鹿神秘失蹤、希律王撞斷鼻樑、莎樂美和聖施洗約翰在戲外交媾、羅浮宮內拿破崙廳導演小康在杜樂利花園的密林激情中，接到母親過世的電話通知，女製片也隨之飛往台北參加葬禮。陰沉的舊公寓裡，母親的鬼魂遲遲不肯離去。所有的工作人員，陷入一個漫長的等待。 　　電影終於又要繼續拍攝，戲裡戲外的角色開始模糊，一群著莎樂美華麗古裝戲服的明星，在羅浮宮滿載藝術靈魂的廳廊、暗室、古道中穿梭，彼此尋找著每個人心中的莎樂美

暂无剧情简介

这是一张两度获得中国戏曲最高奖梅花奖的“脸”，也是一张因重度油彩过敏而近乎毁容的“脸”。 　　本片创作团队用将近一年时间，跟拍绍兴小百花越剧团在都市、农村的演出，记录主人公范派小生吴凤花的日常生活。通过主人公化妆、卸妆后脸的对比，以及她就医、熏脸、哄儿子等一系列的生活细节，反映了她丰富的内心世界。该片采用纯记录风格，通片没有解说词，没有音乐选配，充分运用镜头组接以及舞台提供的原始素材来结构全片，把人物访谈部分的声音作为画外处理补充信息量，最终达到真实感人的目的。