James Williamson's September 1902 catalogue contains a detailed synopsis: First Scene: Policeman on his beat in the early morning finds an unoccupied portion of a building well alight with window burnt out, while the inmates of the adjoining part are apparently asleep and unconscious of their danger. He endeavours to arouse them, and tries to open door, blows his whistle to call assistance and rushes off to call the fire engine and escape. Second Scene: Outside the fire station; policeman rushes in, shakes the door and rings the bell; fireman opens door, policeman excitedly gives particulars of fire, other firemen hurry forward, dressing as they go and quickly rush off with small fire escape. In an incredibly short time a horse is fixed to another escape, and two horses into a manual engine, and the whole gallop off. Third Scene: Shows horsed fire escape and engine coming full gallop past the camera. Fourth Scene: Interior of bedroom full of smoke; man in bed just rousing; discovering room full of smoke he jumps out of bed and throws contents of water jug over the fire, then rushes to the door and opens it, but finds his passage blocked by flame and smoke; he then goes towards the window, but just at that moment the curtains set alight, and overcome by smoke and heat he buries his head in the bedclothes. The window curtains and blind now burnt away disclose a fireman outside with hatchet breaking in the window; he comes in with his hose and quickly extinguishes the fire; he then goes to the relief of the man now helpless on the bed, and puts him across his shoulder, and carries him to the window. Fifth Scene: Shows the outside of the window; fireman with rescued man across his shoulders comes down escape; another fireman runs up and fetches down the hose, throwing out some bedclothes to put round the rescued man; the latter recovering his senses recollects that there are others in the burning building. One fireman, laying a wet cloth over his mouth, breaks into a French window, while others hurry away with the escape to another part of the building. Fireman re-appears through the smoke with a child in his arms, the previously rescued man clutching the child from him hurries away with her, overjoyed at her rescue. Meanwhile the captain has directed another party of firemen to prepare to rescue another inmate, who appears at the window in an exhausted condition; the fire escape being occupied elsewhere, the jumping sheet is brought into requisition, and the man jumps into it and is carried away by the firemen.

这部电影是在欧洲一些最令人惊叹的风景中拍摄的。故事的重点是一个间谍的努力，由意大利万人迷法比奥特斯蒂扮演，以确保铀运输已被敌人的力量为目标。

陈亮倾尽积蓄为小渔村重建码头，却遭部分村民逼迫分钱并举报违建。看清人心后，他依法拆除码头，转而协助真诚的大渔村修建设施、销售火山香蕉，带动村民致富。小渔村悔悟后，陈亮选择宽容，但坚守善良需有底线的原则。

美国导演 John Huston 制作的第二部二战纪录片。他的上一部纪录片《圣·彼得洛战役》（The Battle of San Pietro，1945）因为表现出战争的残酷而被军方从5本胶片剪成3本。而这部电影则被军方禁映了40年，因为它居然展现士兵们被炮弹震惊所苦， 以及其他因战斗而导致的精神错乱。1982年，这部电影被允许公映，让人见证到战争的残酷以及导演对生命的同情。

《要有光》是蒋志最新的录像作品。古早，神说：“要有光，就有了光；神看光是好的，就把光暗分开了。”光，除了上天的赏赐，它也同时扮演粗暴的伤害，强悍的控制，舞台的中心，等等。每个被暴露者，对探照灯光的逼迫做出自己本能的反应。隐私、美感、模糊性，在显微镜般的强光中，均消失无踪。

生日宴上温知遥的男闺蜜屡次越界，许砚提出边界却被指责控制欲。女友一味维护好友，对方还造谣损害许砚事业。不断的偏袒耗尽感情，许砚决然分手，努力提升自己。之后他遇到懂得边界、互相共情的苏桃，摆脱感情内耗，拥有双向奔赴的幸福。

五十岁的沈玉兰手握辛苦攒下的养老积蓄，娘家因侄子结婚差三十万彩礼，全家轮番劝说她出钱帮扶。过往多年她屡屡接济弟弟一家，不断退让换来无尽索取。面对家人逼迫、邻里争执与亲戚非议，沈玉兰守住底线，分清赡养父母与帮扶晚辈的边界。侄子幡然醒悟选择自力更生，一家人解开隔阂，沈玉兰也懂得善待自己，开启懂得自保与自爱的新生活。

我正坐在书桌前处理着工作，保姆刘秀丽突然凑上来，说我整天不是看手机就是玩电脑，也该把自己的房间收拾收拾。我很诧异，我花钱雇保姆不就是为了帮我做这些的吗。她却喋喋不休，说女人这样嫁不出去，还说都是为了我好，我气笑了，合着在这蹬鼻子上脸想当我婆婆呢。既然不想做保姆，那就别做了。

本片讲述斯图基警探着手调查一系列谋杀案，以及隐居在科内利亚诺与瓦尔多比亚德内山区的伯爵德西代里奥・安奇洛托离奇自杀的案件。故事围绕贪婪与守护土地之间的矛盾冲突展开。