时间是日本的战国时代，为了让织田信长拥有统一天下的力量，信长的近侍森兰丸，指挥著拥有妖魔般力量的忍者集团--陇众，分别袭击了影忍三流派：香澄、日向、叶块的村落，目的就是为了夺取由他们代代相传保护的三把妖刀！带著妖刀幸存的三人：香澄的绫女、日向的左近与叶块的龙马，誓要向信长讨回这血海深仇！究竟妖刀隐藏著甚么秘密力量？而信长与兰丸的企图又是甚么？

时间是日本的战国时代，为了让织田信长拥有统一天下的力量，信长的近侍森兰丸，指挥著拥有妖魔般力量的忍者集团--陇众，分别袭击了影忍三流派：香澄、日向、叶块的村落，目的就是为了夺取由他们代代相传保护的三把妖刀！带著妖刀幸存的三人：香澄的绫女、日向的左近与叶块的龙马，誓要向信长讨回这血海深仇！究竟妖刀隐藏著甚么秘密力量？而信长与兰丸的企图又是甚么？

谨以此片纪念于承惠先生。本片与《挟刀揉手》、《心思刀理》一脉相承，展示了电影《箭士柳白猿》的武术动作设计、拍摄过程，徐浩峰导演以“剧本围读”为起点，以访谈回首为对应，展开武术、电影、文学以及弓枪背后的文化解读，展现了徐浩峰导演的艺术创作理念和武侠观。长枪发力，枪缨无声。《箭士柳白猿》拍摄期间，影像记录了于承惠先生日常的体用修为、在片场的诸多功夫展示、对武术的理解……润物于无声。念念不忘，回响于群山。

两个不识彼此的青少年，少男终日沉迷电玩，少女则是身怀六甲，孤独是两人唯一的共通点；为了金钱，他们钻律法漏洞，假扮夫妻，好让婴孩未来过继给少男不孕的叔叔。疏离的两人，尽管共处一室还是少有交集；随着婴儿意外早产，他们被迫拉近距离，多了怀抱里的婴孩，生活突然有了温度。在满室寂 寞之中，爱的声音已悄然在耳边喧哗。

A story of a small-town boy growing up in love and despair and family troubles that make him take on a critical attitude towards his surroundings. Mato does not fulfill his father's wish for devoting his free time to playing soccer. Mato enjoys fishing with his friend Robo much more. He dreams of his schoolmate Terka and of an adventurous run-away from home.

A story of a small-town boy growing up in love and despair and family troubles that make him take on a critical attitude towards his surroundings. Mato does not fulfill his father's wish for devoting his free time to playing soccer. Mato enjoys fishing with his friend Robo much more. He dreams of his schoolmate Terka and of an adventurous run-away from home.

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A deadly tournament for a princess' hand, a mystic "golden deer," babies switched at birth, a raised-by-lions quasi-Tarzan; everything but the proverbial kitchen sink was thrown into this extravagant fantasy adventure. Loin-clothed foundling Arminio (Massimo Girotti) leaves the jungle he grew up in upon reaching adulthood, unknowingly commencing the fulfillment of a prophecy that will have him regain the royal throne that is his birthright. Reviving the invincible muscleman hero of popular Italian silent films, THE IRON CROWN also anticipated the "sword and sandal" craze originating from that country in the 1950s, more directly triggered by two international hits: Alessandro Blasetti's own 1949 FABIOLA (released in 1949) and, not quite a decade later, HERCULES with American bodybuilder Steve Reeves. THE IRON CROWN won the "Mussolini Cup" for Best Italian Film at the Venice Festival but wasn't released in the U.S. until years after the end of World War II. Though little-remembered today (compared to some of the films it partly inspired), it survives as a vigorous if goofy gem of all-stops-out escapism. Here, it is presented it in its original language with English subtitles, minus the clumsy dubbing of poorly re-edited versions that were seen for decades outside Italy - Dennis Harvey