魔术师（御主）和英灵（从者）为了争夺能够实现所有愿望的许愿机“圣杯”而战斗，在“圣杯战争”发生的十年后，冬木市又一次掀起了战争。前代“圣杯战争”的参加者卫宫切嗣的养子·卫宫士郎继承遗志，下定决心参战。卫宫士郎的身边，陪伴着一位仰慕他的少女——间桐樱。她每天早晨晚上都来到卫宫家，为他打扫房间和制作料理，她和孑然一身的士郎度过了平稳而又充满温情的日子。但是，战争开始后，冬木市的气氛就变了。冬木市到处传出发生凶杀案的消息，全镇都笼罩在一股不安的气氛里，于是士郎决定让樱留宿在自己家里。卫宫士郎召唤出从者·Saber后，和身为正统魔术师的远坂凛结盟，一起面对“圣杯战争”。但是有人暗施诡计，让这场战争开始逐渐陷入混乱 。

动画剧场版《命运之夜—— 天之杯：恶兆之花》，是TYPE-MOON发售的文字冒险游戏《Fate/stay night》中第三条剧情线，简称“HF”或“樱线”。在故事中，圣杯是传说中可实现持有者一切愿望的宝物。7位御主（Master）和7位从者（Servant）为了得到圣杯而相互厮杀的仪式被称为圣杯战争。

本片改编自TYPE-MOON出品的文字冒险类游戏《Fate/stay night》，是该游戏的Heaven's Feel路线，简称“HF”或“樱线”，是该系列作品动画剧场版全三部作品…

本片改编自TYPE-MOON出品的文字冒险类游戏《Fate/stay night》，属于该游戏的Heaven's Feel路线，简称“HF”或“樱线”，是该系列动画剧场版三部作品中的最终章。在剧场版第二章里，黑化后的樱吸收了众多从者（Servant）的灵魂，被世间所有的恶控制，化身为黑色圣杯。最终，知晓一切的士郎放弃了成为正义伙伴的理想，转而选择保护樱。

本片改编自TYPE-MOON出品的文字冒险类游戏《Fate/stay night》，是该游戏的Heaven's Feel路线，简称“HF”或“樱线”，是该系列作品动画剧场版全三部作品中的最终章。 在剧场版作品第二章黑化之后的樱吸收了众多Servant的灵魂后，被世间 所有的恶控制，成为黑色圣杯的化身。 最终，得知一切的士郎放弃了成为正义的伙伴，选择了保护樱...

本片改编自TYPE-MOON出品的文字冒险类游戏《Fate/stay night》，是该游戏最终路线“HF线”动画剧场版全三部作品中的第二章。通过女主角间桐樱的视角，讲…

本片改编自TYPE-MOON出品的文字冒险类游戏《Fate/stay night》，是该游戏最终路线“HF线”动画剧场版全三部作品中的第二章。通过女主角间桐樱的视角，讲述了御主和英灵为了得到可以实现一切愿望的圣杯而相互厮杀的一场战争。

十年前，几乎毁灭世界的大灾难中，卫宫士郎被魔术师卫宫切嗣所救，成为其养子。 　　十年后，士郎为履行与已故的养父之间的约定——成为“正义的伙伴”，而每日不停的进行魔术锻炼。 　　偶然的一天，士郎被卷入了称为“圣杯战争”的魔术师之间的对决。规则是一位魔术师与一位“英灵”结成契约。所谓“圣杯战争”，胜利者可以获得圣杯来实现任何愿望。于是，七位魔术师与七位“英灵”一起加入了这个为了创造奇迹的厮杀之中。 　　卫宫士郎深知，十年前的那场大灾难就是“圣杯战争”引起的，为了避免悲剧再次发生，他与自己的“英灵”Sabar一起，投身于这充满危险与艰辛的”圣杯战争”之中。

十年前，几乎毁灭世界的大灾难中，卫宫士郎被魔术师卫宫切嗣所救，成为其养子。 　　十年后，士郎为履行与已故的养父之间的约定——成为“正义的伙伴”，而每日不停的进行魔术锻炼。 　　偶然的一天，士郎被卷入了称为“圣杯战争”的魔术师之间的对决。规则是一位魔术师与一位“英灵”结成契约。所谓“圣杯战争”，胜利者可以获得圣杯来实现任何愿望。于是，七位魔术师与七位“英灵”一起加入了这个为了创造奇迹的厮杀之中。 　　卫宫士郎深知，十年前的那场大灾难就是“圣杯战争”引起的，为了避免悲剧再次发生，他与自己的“英灵”Sabar一起，投身于这充满危险与艰辛的”圣杯战争”之中。

Luis Alcoriza is best known for his script collaborations with fellow Spaniard Luis Bunuel, having worked on some of Bunuel's more intriguing Mexican films. But in his later life, Alcoriza emerged as one of the leading scenarists of modern Mexican cinema. After 1962 he scripted a number of important films (most of which he directed himself), which are his own peculiar blend of raucous entertainment and pointed social criticism. His unit of analysis is the group which, especially in his post-Bunuel period, he uses to symbolize Mexican society. This is a motif that is discernible in his Bunuel films as early as Los olvidados (the gang of street kids in Mexico City). Similarly, there are the bourgeois guests in El ángel exterminador, mysteriously trapped in their host's drawing-room, the disparate band of refugees lost in the jungle in La Mort en ce jardin, and the political prisoners, bureaucrats, politicians, and hangers-on in the fictional South American dictatorship of La Fièvre monte à El Pao. 　　But whereas Bunuel's aims were existential, surrealist, and absurdist, Alcoriza's were satirical. Bunuel's films were bleak, detached commentaries on the human animal as he observed it, their undeniably dark side due to the fact that Bunuel's vision did not encompass redemption. Alcoriza's view was more hopeful. His scripts poke fun at human nature (particularly as it expresses itself in the Mexican national character), but like all true satirists, he criticizes in the hope of improving humanity. In Alcoriza's cinematic universe redemption is a goal worth striving for—is the only goal worth striving for. Asked why he chose to write and direct Tarahumara, his semidocumentary film about an isolated Mexican Indian tribe scratching out its meager existence in a remote region of Chihuahua, Alcoriza said: "I am not in agreement with the world in which I have to live, because I do not like our society. Today we try to reach other worlds, the moon, Mars . . . and the most elementary problems—hunger, justice, [human] dignity—have yet to be resolved." But Alcoriza believed this situation could be changed. Accordingly, his body of work reflects healthy indignation rather than Bunuel's typically distressing resignation. 　　Two of his more illustrious scripts (both for films he directed) are Presagio, coscripted by Gabriel García Márquez, about a village whose inhabitants come to believe that they are living under an evil spell, and Mecánica nacional, the story of a group of automobile racing fans, on their way to see the conclusion of an Acapulco-to-Mexico City auto race, who are thrown together for a day and a long night due to a traffic jam. In these and other Alcoriza films (Tlayucan, Tiburoneros, El oficio más antiguo, Las fuerza vivas) he fills an expansive canvas with a large cast of characters and succeeds in creating a Rabelaisian cross-section of Mexican society.