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。

退休教师邵桂琴回到家中，儿子儿媳向她索要高额伙食费与存款，还安排她住进无窗保姆房。面对家人的算计，她不再退让，借助法律守护自己的房产积蓄。经过家庭调解，子女认识错误，主动承担赡养责任。邵桂琴守住自身权益，开启属于自己的新生活，读懂亲情之间边界的重要性。

婆家过度宠溺小姑，要求哥嫂分担高额房贷，不断消耗小家庭。儿媳刘曼理智沟通守住原则，丈夫摆脱愚孝，坚定维护自己的小家。小姑受挫后自力更生开店打拼，公婆也反思自身偏心，学会尊重儿媳。全员脚踏实地努力生活，明白真正的亲情是彼此独立、互相体谅，有底线的相处才能长久和睦。

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。

暂无剧情简介

一场家宴，让周明远决然离开失衡的饭桌。面对岳家过分行为、妻子的左右为难，还有旁人对婚姻的越界干扰，他始终理性坚守相处底线。许静宜在一次次矛盾中幡然醒悟，挣脱原生家庭的束缚，学会守护自己的小家庭。历经亲情拉扯与职场考验，双方家人逐步自省改变，大家学着彼此体谅，重建平等尊重的相处方式，收获成熟温暖的亲情与婚姻。