故事发生是北爱独立战争期间。英国士兵乔迪（福里斯特·惠特克 Forest Whitaker 饰）在阿尔马遭到了北爱共和军的绑架，共和军企图用他来交换被英军扣押的俘虏。看守乔迪的是弗格斯（斯蒂芬·瑞 Stephen Rea 饰），他的内心对杀戮和战争感到迷失和无奈，对乔迪的遭遇感到恻隐与同情，他们成了好朋友。共和军最终没换来俘虏，上头要求弗格斯处决乔迪，弗格斯暗中放走了他。乔迪走前交给弗格斯一张他女朋友迪尔的照片，告诉弗格斯可以去伦敦找他的女朋友迪尔。 　　不料乔迪逃走时却误被来袭击的英军坦克轧死了，早已厌倦了战争的弗格斯逃到了伦敦，化名吉米。他在伦敦找到了迪尔，被她深深吸引，后来在旅馆时却发现她是男儿身。此时爱尔兰共和军传来消息，他们已经判了弗格斯死刑，他们要求弗格斯去执行一次同归于尽的任务！

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?

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.

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.

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?

曾经以22岁的青春年龄便荣获文学杂志新人奖的小说家阿武（斋藤工 饰），他的灵感真可谓来去匆匆。才思枯竭的他死抱着作家的虚荣不放，他整天徘徊在赌桌前，靠赌博换取一点儿零用钱，文豪作家似乎早已成为旧日的幻梦。经音乐家岛田（武藤昭平 饰）的介绍，岛田来到一家爵士乐俱乐部，期间竟意外重逢高中时代的同学菊子（汐見ゆかり 饰）。菊子和来自美国新奥尔良的鼓手组成了爵士乐队，虽然他们空有一身才艺，却无法吸引到更多的观众。钱没有赚到多少，连相关的演出费也难以支付。菊子拜托阿武设法筹措资金，囊中空空的落魄小说家唯有在赌桌上大战一场…… 　　本片根据色川武大的同名原著改编。

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?

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.