Lindsey Vickers, who scripts and directs this enigmatic film, offers a viewer just enough information to raise questions, at the same time presenting enough plums in the pudding to warrant an alert audience wishing for answers in return, but providentially style triumphs over substance. Vickers constructs an unquestionably suspenseful tale of predestination that revolves about a talented young violinist who manifestly possesses significant preternatural powers, more than sufficient to drastically affect those about her. Action opens with a three year flashback scene as we view a 12 year old girl carrying her casebound violin while walking from her school toward her home, traversing a secluded coppice, Crombie Wood, wherein she is suddenly seized (in a highly eerie scene) by a baleful force that slaughters her. Three years after, Joanne Cameron (Samantha Weysom), a 14 year old student at the same school, and also a violinist of a high order, is seen approaching a now abandoned Crombie Wood (fenced to discourage any who might otherwise trudge through it) where she speaks at the barrier to someone or something unseen just within the enclosure. Joanne's affection for her father Ian (Edward Woodward) is obsessive, and when he cannot attend her solo examination recital because of a business appointment, the child's paranormal facility is apparently utilized in the service of evil, thereby raising nocturnal havoc with Ian and Joanne's mother Dianna (Jane Merrow), as the married pair have nightmares in union that share numerous dire elements. In the morning following the tandem bad dreams, Ian drives to his business appointment in a loaned automobile, as his is being serviced, and it is soon apparent that vital auto related components from within the nightmare are being enacted during the light of day, and a powerful perception of upcoming danger is fashioned through the script. It is this premonition of dread that securely establishes the tension marking the film from its opening scene, a viewer wondering specifically how, or if, Ian will be victimized consonant with the display of frightful events that comprised a large portion of the mentioned dreams. Well-wrought and intense domestically flavoured episodes mingle congruent with scenes of suspense, according credible shape to the whole. Helping to nourish a viewer's interest are nicely conceived passages showcasing visual and aural synchronicity, based for the largest part upon the dream sequences, while a gripping atonal score by Trevor Jones and resourceful camerawork from Brian West provide intensive underpinning to a film that never retreats away from the plotline perception of Vickers. Especial note shall be made of a solo car crash occurrence that is shot and edited in a highly persuasive manner. Acting honours are to the expressive Merrow for her turn as a decisive pivot between her husband and daughter. Filmed to a large extent within scenic Snowdonia National Park of North Wales, this undervalued film had but infrequent theatrical showings before being released to video and has not since emerged in a DVD format. 　　http://www.amazon.com/review/R2ZAX94P5JAV07/ref=cm_cr_rdp_perm

某天早上醒来，陈静安和祝年年灵魂互换。陈静安变成“豪门公主”，祝年年成了暗恋对象的“妹妹”。但当她们和发现真相的陈长宁一起调查互换原因时，使局面越来越复杂的事情增多，情况开始朝着难以预料的方向发展……

居尼尔斯原创作品《花海》改编，讲述了校园女神祝年年和无厘头大姐大陈静安阴差阳错互换身份的故事。陈静安一觉醒来竟变成了她做梦都想成为的“公主”，终于摆脱了哥哥陈长宁的管束，在同学的拥护中过足了女神瘾。而祝年年发现自己成了暗恋对象的“妹妹”，成功和心仪已久的男神朝夕相处。

在阿塔卡马沙漠，已经有60年没有降过一滴水了，一次厄尔尼诺过后的降雨，让沙漠里休眠的200多种花朵种子发芽，生长，开花，绽放成花海。 　　本片为中国传媒大学艺术学部动画与数字艺术学院15级学生毕业作品。

云卿与裴玄婚后即分，三年后裴玄携女与子归，欲降妻为妾，云卿使裴玄残废后和离。和离后皇帝萧痕以商人身份与云卿再遇相处，于裴玄报复时相救，云卿心动，在众官支持下，云卿成为皇后。

1945年3月，美国盟军攻克科隆，救出了大批平民和战俘。卡尔的心情并没有因获释而放松，那些沉重、恐怖的画面不时浮上眼前，一段鲜为人知的历史在人们眼前展开：二战中后期，卡尔和弟弟彼得，以及带着孩子的寡嫂希里住在一座废弃公寓的地下室里。卡尔和几个朋友组成“雪绒花海盗”，专门救助当地平民，使他们远离战火的纷扰。有时他们会同纳粹儿童团发生冲突。彼得是纳粹儿童团一员，深受哥哥影响的他不喜欢战争，常在双方之间举棋不定。一日，卡尔他们发现一名受伤的战俘汉斯，将他带回家养伤。渐渐地，汉斯与希里间产生情愫。卡尔对此甚为不满，觉得这样对不起牺牲的哥哥。但汉斯认为自己可以照顾希里母子。两人于是结下宿愿。纳粹为引汉斯现身，绑架了希里母子，汉斯和卡尔等人前往营救未果。汉斯还为此受伤，彼得一直陪在他身边。迫切想结束汉斯带来的这种不安定生活的卡尔向纳粹告发了汉斯。作为条件，他希望纳粹放彼得一条生路，但彼得宁死不从。最后，目睹彼得他们被绞死的卡尔后悔不已……

嘘，你已经进入了这片秘密森林，女孩们正在箱庭里私语，鸟儿在树上窥见她们轻盈的舞步，远处传来溪水的叮咚。