一位南非传教士前往大城市寻找他误入歧途、犯下罪行的儿子。

Je suis une célébrité, sortez moi de là ! is a French television reality show presented by Jean-Pierre Foucault and Christophe Dechavanne. It was broadcast on TF1 from 14 April 2006 to 28 April 2006. It is the French version of the international reality show I'm a Celebrity...Get Me Out of Here!. The programme was broadcast live in the early evening after Teresópolis to Brazil.

该片将展现8年的抗日战争史诗，并将视角锁定在日军臭名昭著的731部队，在揭露侵华日军以中国人和国际反法西斯人士做活体实验、研制细菌武器、发动细菌战…

据编剧岸西介绍，该片将展现8年的抗日战争史诗，并将视角锁定在日军臭名昭著的731部队，在揭露侵华日军以中国人和国际反法西斯人士做活体实验、研制细菌武器、发动细菌战争、屠杀无辜平民的反人类罪行的大时代背景中，演绎跨越半个世纪的“乱世绝爱”。

英国黑人士兵乔迪在阿尔马偶然认识了青年妇女茱德，她是爱尔兰共和军的一个成员。爱尔兰共和军绑架了乔迪，把他关一间温室里当作人质，准备用他交换他们一个被捕的成员。茱的情人弗格斯受命监视乔迪，这两个男人之间建立起亲密的关系。爱尔兰共和军的头目马圭尔对此很不满。乔迪给弗格斯看他在伦敦的女朋友迪尔的一张照片，告诉弗格斯去找她。这时，马圭尔宣布要枪杀乔迪。弗格斯请求由自己执行这个任务，然后他在树林里放走了乔迪。在路上，乔迪遇到前来摧毁尔兰共和军的英军坦克，不幸被辗死。弗格斯逃到伦敦，改名吉米。他暗暗跟踪迪尔，来到她工作理发馆，请她替他理发。迪尔有时在地下铁道的酒吧演唱，弗格斯又在这里与她见面，随后跟她回家。在她的公寓里，弗格斯入了她和原来的情人戴夫之间发生的一场争斗。结果，弗格斯和迪尔暂时成为情人。但是他惊恐地发现，迪尔原来是一个男人……

Petty crook and cop-killer Martin Rome, in bad shape from wounds in the hospital prison ward, still refuses to help slimy lawyer Niles clear his client by confessing to another crime. Police Lt. Candella must check Niles' allegation; a friend of the Rome family, he walks a tightrope between sentiment and cynicism. When Martin fears Candella will implicate his girlfriend Teena, he'll do anything to protect her. How many others will he drag down to disaster with him?

A man is drawn into the footsteps of the historic Haitian slave leader; Mackandal. Following a man trapped in a curse which started centuries ago, this modern fable folds accounts of the past with the resilience of the present.

德国搞笑微电《屌丝女士 KnallerFrauen》是德国SAT.1电视台每个星期五晚上11点15分播放的一部喜剧小品。由曾六次获得德国喜剧奖的女演员玛蒂娜·希尔（Martina Hill）扮演“炸弹妞，有时是母亲，有时是单身女性，有时是女朋友，有时是行人或是OL，角色都是现实生活中的各种女性，只不过她们对待人和对事的反应与表现都非常特别。她们为了达到目而采用的荒诞手段，常常令人捧腹大笑。无厘头是本剧的看点，动作表演及其神经质。6位剧中配角，两个是男性分别扮演女主老公和女主的男朋友。两个是女性扮演好朋友及同事。还有两个常任女主的父母的老人，本剧较重口味，未成年人不建议观看，但是并无露点等不和谐内容出现剧中。

Also known as At Great Cost, this adaptation of a story by Mikhailo Kotsyubinsky—a Ukrainian writer executed in the Stalinist purges but rehabilitated in 1955—anticipates the wave of Sixties poetic cinema in its focus on star-crossed lovers and its celebration of nature. Set in the 1930s, the film begins as Solomia is forced into an arranged marriage. She escapes with her lover, Ostep, and for a while it looks as if the fugitives will make a clean getaway. Yet eventually they come to the attention of the police, who mistake them for being part of a gang of thieves. One of the major figures of the earlier current of socialist realism, Donskoy, in one of his first post-Stalin era productions, here loosens his style to reveal a delicate romanticism rarely felt in his earlier films.

JESUS CRIES is a modern adaptation of the New Testament. The story is set in a fictitious metropolis in the near future. The First and Third Worlds are reflected in one city. The divide between poor and wealthy continually grows. As insurrection begins, Jesus of Nazareth becomes the political and spiritual force behind change. He is arrested, tortured, and executed. After his death, his disciples are thrown into confusion with feelings of doubt and guilt. They fight over the interpretation of his teachings and their responsibility to his vision. Will they themselves move to action?