故事发生在撒丁岛上，淳朴的牧羊人米凯尔因为掩护了一些强盗而被警方怀疑为同伙。警方不断地对他进行骚扰，还要抓捕他。于是，米凯尔被迫赶着他的羊群，翻山越岭地躲藏和逃避。他实在被警察逼得走投无路，最终也只能成为了真正的强盗。

Shot in Sicily, Sardinia and Calabria in the Fifties, the documentaries chronicle a lost world. They combine the strength of classical cinema with an austere and powerful expressiveness. Isole di fuoco (Island of fire, 1955), set in the Eolie islands, shows the impressive strength of the volcano. The documentary was awarded the First Prize at the Cannes Film Festival in 1955. A world where the ritual dimension is very strong, like in Lu tempu di li pisci spata (The swordfish season, 1955), on swordfish fishing "in the tepid water separating Sicily and Calabria". Hunt frenzy, worthy of Moby Dick, and the struggle between man and nature are also present in Contadini del mare (Peasants of the sea, 1955), dedicated to fishing with the tunny-fishing nets off the Sicilian coast, where men wait for tunas, which have always followed the same route: "When sea tribute appears in the net, the circle of life and death repeats". And, at sunset, when men go back ashore and children dance, solemn women carry the fishes on their head to the fish market (Pescherecci, Fishing boat, 1958 is on the same topic). The conditions of miners risking their lives in the bowels of the earth to extract the conditions of farm labourers scything and harvesting wheat in huge fields with primitive systems in Parabola d'oro (Golden parable, 1955) are not less dramatic. Then, Pasqua in Sicilia (Easter in Sicily, 1955) with its sacred folklore and the representation of the Passion of Christ. Pastori a Orgosolo (Orgosolo shepherds, 1958) and Un giorno in Barbagia (A day in Barbagia, 1958) are the two documentaries shot in Sardinia. They chronicle the isolated lives of shepherds in the very heart of Sardinia, where men live far away from their families most part of the year to pasture the flocks. 　　Vittorio De Seta - Born in Palermo in 1923 from an aristocratic family, he said that he "discovered" the world of the humbles during military service. He devoted to them most of his cinematographic work, undertaken after quitting the faculty of architecture. A withdrawn and shy author, for a long time underestimated by critics, he was often personally involved in film editing, photography and musical choices. After his Sicilian documentaries, in 1958 he shoots Pastori ad Orgosolo (Orgosolo shepherd) and Un giorno in Barbagia (A day in Barbagia) in Sardinia, which are at the basis of his feature film Banditi ad Orgosolo (Bandits of Orgosolo, 1961, Prize for the First Work at Venice Film Festival), a detailed in-depth analysis of an archaic civilization and its malaise. In 1966 he directed Un uomo a meta (Half a man) on the eccentricity of a politically-committed intellectual, giving rise to a lot of criticism (Moravia and Pasolini among the few defending him). After L'invitata (The invited woman, 1969), he met a resounding success in 1973 with the TV series Diario di un maestro (Diary of a schoolteacher). In 1981 he left cinema, but he was back in 1993 with the direction of In Calabria, in which he reflected again on the lost identity of the South of Italy. In 2004 he completed Lettere dal Sahara (Letters from Sahara) on an African migrant in Italy.

雷敦伯格（安德烈·鲁斯特 Andreas Lust 饰）和女友艾丽卡（Franziska Weiss 饰）生活在风景如画的维也纳，表面上看来，他们和世间的大多数情侣一样恩爱缠绵，可实际上，雷敦伯格有着一段不为人知的过去。 　　原来，曾经的雷敦伯格是一名拥有极高智慧和强大野心的长跑运动员，与此同时，他还参与策划了一系列的银行抢劫案，是的，雷敦伯格抢劫银行绝不是为了区区钱财，而是为了满足自己追求刺激的欲望。如今，尽管雷敦伯格选择了和女友一起离群索居，但在内心里，他依旧十分渴望从前那种充满了刺激与变数的生活。是就此金盆洗手好好的享受生活，还是继续铤而走险获得短暂的快感？雷敦伯格徘徊在期间无法选择。

The epic adventures of the legendary Baran the Bandit following his release from prison. After serving 35 years, it is no surprise that the world has changed dramatically. Still, Baran can't help but be shocked to discover that his home village is now underwater thanks to the construction of a new dam. He then heads for Istanbul to get revenge upon his former best friend, the man who snitched on him and stole his lover Keje. Along the way, Baran teams up with Cumali, a tough young punk who finds the thief's old-fashioned ways rather quaint. When Cumali gets into deep trouble with a crime boss, Baran adds another vengeful task to his roster.

巴西，30年代，横行霸道、拦路抢劫的强盗四处肆虐，闹得人心惶惶。一天，一个村庄遭到一群匪徒的洗劫。为了捞取更多的钱财，匪徒在抢劫后还将村子里的女教师绑走，狮子大开口，向村民索要大笔的赎金。就在村民为赎金发愁时，匪徒中的一个对女教师产生了真挚的感情。女教师在他的帮助下顺利地逃了出去，而这个匪徒则丧命于同伙的乱枪之下。 　　《匪徒》为当时尚不为世人所知的巴西电影业通向世界打开了一扇窗口，以诗一般优美的旋律和摄影描绘了30年代巴西人民的风俗习惯，残暴的匪徒的暴行同渴望宁静生活的百姓间形成了鲜明对比，反映出穷困善良的人热爱生活、依恋土地的美好愿望。在1953年的戛纳国际电影节上，此片获得评委会大奖和音乐特别奖。

巴西，30年代，横行霸道、拦路抢劫的强盗四处肆虐，闹得人心惶惶。一天，一个村庄遭到一群匪徒的洗劫。为了捞取更多的钱财，匪徒在抢劫后还将村子里的女教师绑走，狮子大开口，向村民索要大笔的赎金。就在村民为赎金发愁时，匪徒中的一个对女教师产生了真挚的感情。女教师在他的帮助下顺利地逃了出去，而这个匪徒则丧命于同伙的乱枪之下。 　　《匪徒》为当时尚不为世人所知的巴西电影业通向世界打开了一扇窗口，以诗一般优美的旋律和摄影描绘了30年代巴西人民的风俗习惯，残暴的匪徒的暴行同渴望宁静生活的百姓间形成了鲜明对比，反映出穷困善良的人热爱生活、依恋土地的美好愿望。在1953年的戛纳国际电影节上，此片获得评委会大奖和音乐特别奖。

埃尔内斯托和卡洛被释放，从战俘营回家。农民卡洛在回农村前，邀请埃尔内斯托到农村家中作客，并看看自己的女儿罗塞塔。埃尔内斯托回到家乡，发现自己的家毁于战火，母亲去世，妹妹玛丽亚失踪。他无家可归，成为流浪汉。一天晚上，他发现自己的妹妹已当上了妓女。他们兄妹痛苦相认。不久，妹妹在同盘剥他的坏蛋争吵时，被坏蛋杀害，埃尔内斯托愤而杀死了坏蛋。埃尔内斯托认识了丽狄亚，丽狄亚是一个盗匪集团的头子。他被迫入伙，并逐渐成为丽狄亚的情夫和盗匪集团的头子，他们劫富济贫。有一次，埃尔内斯托同丽狄亚争吵后，丽狄亚告发了他。埃尔内斯托逃脱了，他想到农村去找卡洛，买了个准备送给罗塞塔的娃娃。途中，他被警察追捕，枪战后，他被击中，临死前，仍念念不忘罗塞塔

《强盗》以韩国战争至今伤痕未消的1960年代前后混乱的巨变期为背景，主要讲述了充斥着金钱、权力、拳头的年代，关于一个可以动摇全国的暴力组织首长的男人的友情和欲望，背叛的兴亡盛衰的犯罪黑帮题材故事。

Act I 　　Scene 1 　　Having gathered together to celebrate a wedding, the peasants complain to the Governor of Rome about the misdeeds of a certain Marco Spada. Though they have never set eyes on him, rumours about the robberies he has carried out in the district are a hot topic of conversation with them. A regiment of dragoons enters the village. Count Pepinelli, captain of the dragoons, falls for the charms of the Governor’s daughter, Marchesa Sampietri. But, alas, the latter is betrothed to Prince Frederici... Taking advantage of the situation, Marco Spada, incognito, empties the pockets of the onlookers. General consternation! Rain scatters the crowd. The only person left in the square is Friar Borromeo, whom Marco Spada has deftly relieved of all the alms he has collected. 　　Scene 2 　　The Marchesa, the Governor of Rome and Count Pepinelli, who have got lost on a mountain walk, have no idea they have taken refuge in Marco Spada’s lair. Angela, the bandit’s daughter, is also totally ignorant of her father’s clandestine activities. In the belief that no one is at home Spada’s accomplices quickly fill the room but then, just as quickly, vanish. Pepinelli, who has witnessed all this, warns Spada, that his house has been invaded by bandits. The dragoons take up their posts. The trap-doors in the floor open up again and the pictures hanging on the walls shift positions — but this time only to reveal to the astonished visitors a laden table and seductive young women! 　　Act II 　　The Governor invites Marco Spada and Angela to a ball. At the very moment that Prince Frederici is about to ask Spada for his daughter’s hand in marriage, Friar Borromeo turns up and complains to all and sundry he has been robbed. Borromeo says he will recognize the thief. Spada decides it is time to vanish but, before he manages to do so, Borromeo points him out. At last the penny drops: a shattered Angela tells Prince Frederici she cannot be his bride. The piqued Prince immediately announces his betrothal to the Marchesa. Now it is Pepinelli’s turn to be put out. 　　Act III 　　Scene 1 　　Pepinelli decides to declare his love to the Marchesa for the last time but, the latter, having already made up her mind, comes to meet him in her wedding dress. Suddenly the bandits show up from all directions and kidnap both the Marchesa and the Count. 　　Scene 2 　　Surrounded by his cronies Marco Spada, to his astonishment, catches sight of Angela in bandit garb. “In life or death! I accept my fate and want to live here with you all”. Against his will, Friar Borromeo is forced to marry the Marchesa and Pepinelli. 　　The approaching regiment can be heard in the distance, the bandits decide to take refuge in a cave, seizing Frederici and the Governor whom they come across on their way. But Angela intervenes and saves the lives of both of the latter. Shots are heard close at hand. Marco Spada is mortally wounded. He appears, staggering. Before he dies, he makes a confession which dumbfounds the soldiers: Angela, he says, is not his daughter. This lie saves her from arrest and leaves the way open for her marriage to Prince Frederici.