斯里蘭卡，1983年，Jude Ratnam五歲。他搭上火車逃亡，逃離部分僧迦羅人對少數族裔泰米爾人的迫害與屠殺，而政府對此毫不作為。 　　今日，導演再次從南到北走一遍，那條由26年內戰開拓的淌血之路。說服許多當年參戰或被迫參戰的同胞——多數加入武裝反抗組織「泰米爾之虎」——克服恐懼與憤怒，打開可能的調和之途。 　　十年的工作成果。首部泰米爾影人的紀錄片。一個斯里蘭卡黑暗、痛苦、少為人知的故事。

《Seameth：恶魔天堂》让人想起经典的达达主义电影，导演本人称这是他迄今为止最疯狂的电影，它非线性地探索了一个外星人的疯狂，这个外星人被一个由精神错乱的精神病特工、偏执的员工和神秘的连环杀手拥有的行业所捕获。他们都参与了各种酷刑方法，这些方法将使这个生物获得暂时的永生。

A film set in a small Polish village in the '60s that deals with a young girl's awakening sexuality. Mala, about 13, lives with her unmarried mother and has a boyfriend of her own age. The village is sent into a turmoil by the arrival of the clan of Gypsies, who set up camp in the field. Gypsies are ostracized and damned as 'devils' by the conservative villagers. Mala is attracted to the Gypsies. But the locals attack their camp with fire hoses and Gypsies move on

在这场由“恶魔”主持的烧脑生存游戏中，参赛者们将用一周的时间角逐最强大脑桂冠，并赢取终极大奖。

1993年的美国阿肯色州的孟菲斯，原本平静的生活被接连发生的谋杀案彻底击碎。三名男童被残忍杀害，两人溺毙，一人竟被残忍地割去生殖器，尸体被捆绑后遗…

在这场由“恶魔”主持的烧脑生存游戏中，参赛者们将用一周的时间角逐最强大脑桂冠，并赢取终极大奖。

阿尔宾（雅克·夏里尔 Jacques Charrier 饰）是一位住在德国郊区的法国作家，一次偶然之中，他结识了德国著名作家安德斯（沃尔特·雷耶尔 Walter Reyer 饰）和他的妻子海伦娜（斯蒂芬妮·奥德安 Stéphane Audran 饰）。这对夫妇拥有富裕的家庭背景，他们的关系看起来十分和谐，给阿尔宾留下了无比羡慕的印象，阿尔宾开始渴望闯入他们的生活，并试图勾引海伦娜，取代安德斯。 　　为了实现自己的欲望，阿尔宾开始偷窥并使用各种狡猾手段接近这对作家夫妇，通过这些行为，阿尔宾的确一步一步的接近了自己的梦想。然而，就在阿尔宾打算对海伦娜展开攻势之际，一个巨大的秘密浮出了水面。

Professor Henri Faust, retiring after 50 years as an alchemist in a circa-1700 university, despairs at still knowing nothing of the true secrets of nature...whereupon his old acquaintance Mephistopheles, servant of Lucifer, appears and grants him youth and a new life. But with youth, Faust's interest is diverted from science to women. And Mephistopheles, who has taken on the guise of the elderly Faust that was, sets many snares for his young friend's slippery soul... Written by Rod Crawford

The good deeds of a well-meaning fellow are repaid with ingratitude and malevolence. This is too much for our friend and he begin to rival the Devil in his maliciousness. Giving that he so far overdoes it that the Devil is even upset. In the end he returns to his original temperament. 　　This was the debut film of Zlatko Grgic, a Zagreb legend, in 1965 at the age of 20. It demonstrates his comedic talents at their best, as a well-meaning fellow learns to appreciate the benefits of "devilish" behavior. 　　1966 Special Diploma, Bergamo

In the time of Counter-Reformation, a miller and his son come under investigation by a priest of the Inquisition, when rumors spread that their prosperity comes from working with the Devil. 　　The Devil's Trap is a film directed by František Vlá?il, based on a novel by Alfréd Technik, adapted by František A. Dvorák and Miloš Kratochvíl. It was the first of three historical dramas that Vlá?il made during the Czech New Wave (technically he isn't really a part of the New Wave, however these films were made during the same era of artistic freedom), preceding his more well known Marketa Lazarová (1967) and Valley of the Bees (1968). 　　Set in the late 16th Century during the Catholic Reformation, in the Moravian Karst, situated in what is now the Eastern Czech Republic, it tells the tale of a miller (Vítezslav Vejrazka), and his son Jan (Vít Olmer), who come under suspicion and are investigated by a Jesuit priest of the Inquisition (Miroslav Macháchek), when rumors of witchcraft are spread by the local regent (Cestmír Randa), who is jealous of the miller's prosperity and degree of respect among the local populace. 　　As expected from Vlá?il, this film is a stunning experience all the way through. From the opening shot, an ominous manipulation of perspective with a close up of a mangled figure of Christ dominating the foreground against a tiny figure in black walking along the horizon, to the breathtaking confrontational finale inside the vast stalactite filled Karst caverns, it is a wonderful display of visual mastery. 　　Maybe not quite as impressive as Marketa Lazarová, but still full of astonishing imagery. As seen from unique angles and distinct points of view which highlight the director's remarkable sense of awareness of framing, motion, and positioning on the emotional and dramatic tone of the scene. The most memorable being a repeated shot where the camera is suspended and launched with speed through the air towards the miller's door. 　　The story here is a simple one and I would say more accessible than his later works. With a conventional structure emphasized as much by its plot and characters, than by its expressionistic cinematography or authentic historical detail. The events play out without much surprise, and there is a strong underlying, almost supernatural, mysterious aspect that is left unresolved, in fact barely explored, which is slightly disappointing, but only because it's so fascinating that I wish there was more. 　　Acting is great all around. Particularly the villains: Miroslav Macháchek as the priest, casting a sinister and imposing shadow wherever he goes, and Cestmír Randa as the weasel like regent behind all the persecution. While Vít Olmer brings a charismatic leading man presence in his role as the miller's son Jan, in love with the lovely orphan girl Martina (Karla Chadimová), who becomes a dangerous object of rivalry between Jan and other young men of the village. 　　The film also features the evocative music of Zden?k Liška (perhaps the most prolific composer of the Czech New Wave). In this his second of eleven collaborations with Vlá?il, his compositions are used sparingly, but to great effect, complimenting but never overpowering a scene. The best example of which can be heard in an amazingly shot celebration and dance sequence at the end of the second act. 　　The Devil's Trap might not be a masterpiece, but it is still a strong effort, with a fascinating straightforward story and a glorious historical setting captured beautifully by Vlá?il's unmistakable visual prowess. A fine work that would also be the perfect starter plate to prepare yourself for the challenging feast of Marketa Lazarová or The Valley of the Bees. It even has an easy to digest running time. It's therefore puzzling why this gem remains largely overlooked and ignored.