抗日战争中期，山西汾阳。共产党员蒋三（葛振邦 饰）回故乡唐兴庄，发动群众，组织贫农团，传播党的抗战主张。蒋三的哥哥蒋二则当了汉奸，投靠了日寇吉田（许诚 饰），蒋母（丁惟敏 饰）对此十分痛恨。一天，蒋三在村里组织堡垒户开会，蒋二带人来抓捕，不料扑了空，蒋二逼母亲说出蒋三的去向，遭母痛斥，他又抓了蒋三的妻子刘玉梅，审讯吊打，刘玉梅守口如瓶。蒋二使出引蛇出洞诡计，释放了母亲和刘玉梅。据点里内线送出情报，蒋三识破了蒋二的阴谋，他引诱蒋二带人包围唐兴庄，自己则率游击队攻打兵力空虚的敌据点，等蒋二知道中了调虎离山之计回头救援时，早己落入蒋三布下的口袋......

蒋二带人抓捕亲弟弟共产党员蒋三却扑了空，逼母亲说出去向，遭母痛斥，他抓了蒋三的妻子刘玉梅审讯吊打，玉梅守口如瓶。蒋二使引蛇出洞诡计，释放了母亲和刘玉梅。蒋三识破了阴谋，他引诱蒋二带人包围唐兴庄，自己则率游击队攻打兵力空虚的敌据点，等蒋二知道中了调虎离山之计回头救援时，早己落入蒋三布下的口袋......

抗日战争中期，山西汾阳。共产党员蒋三（葛振邦 饰）回故乡唐兴庄，发动群众，组织贫农团，传播党的抗战主张。蒋三的哥哥蒋二则当了汉奸，投靠了日寇吉田（许诚 饰），蒋母（丁惟敏 饰）对此十分痛恨。一天，蒋三在村里组织堡垒户开会，蒋二带人来抓捕，不料扑了空，蒋二逼母亲说出蒋三的去向，遭母痛斥，他又抓了蒋三的妻子刘玉梅，审讯吊打，刘玉梅守口如瓶。蒋二使出引蛇出洞诡计，释放了母亲和刘玉梅。据点里内线送出情报，蒋三识破了蒋二的阴谋，他引诱蒋二带人包围唐兴庄，自己则率游击队攻打兵力空虚的敌据点，等蒋二知道中了调虎离山之计回头救援时，早己落入蒋三布下的口袋。

Short film which explores the origins of napalm, it's use in the Vietnam war, and it's evil effects on society.

一九二七年，白色恐怖笼罩全国。潜伏在狼牙山下冯家庄村以李洛创为首的几名共产党员不畏艰险，和反动地主斗智斗勇，在上级的领导下，成立了当地第一个党支部，为以后狼牙山地区的革命斗争打下了坚实的基础。

1927年，白色恐怖笼罩全国。潜伏在狼牙山下冯家庄村以李洛玉为首的几名共产党员不畏艰险，和反动地主斗智斗勇，在上级的领导下，成立了当地第一个党支部，为以后狼牙山地区的革命斗争打下了坚实的基础。

主要讲述了边关危机，皇帝急调兵部尚书李绶儿子李彦荣回朝带兵征讨并亲授战马火焰驹，以示信任重托。而朝廷内奸臣王强与董皇后勾结，兴风作浪，谋害忠良。李彦荣父亲和兄弟备受折磨。最后，李彦荣大胜归来，终于铲平外戚奸臣。

宿舍熄灯后，我刷到一条新闻，上面的内容说，附近有一个杀人犯在逃，在隔壁学校杀了好几个人，这个杀人犯极其厉害，会制造幻觉，如假的火灾，在痛下杀手，我以为是某个人再搞恶作剧，又或者是某个人在为了获得流量，通过恶搞来获取快感，我对此非常不屑，就在我准备睡觉时，收到了宿管阿姨的私信，【宿舍一楼发生火灾，请马上离开】

派玛拉（珍妮·提恩坡苏皖 Janie Tienphosuwan 饰）和阿洁（潘普·斯棠 Sitang Punpop 饰）是青梅竹马的玩伴，两个女孩之间感情十分的要好。一天，一个名叫雷克（纳瓦·君拉纳拉 Nawat Kulrattanarak 饰）的男孩搬到了她们家隔壁。没过多久，雷克就喜欢上了个性开朗的阿洁，然而，阿洁却并不是很中意雷克，两人之间常常爆发争吵，每当这时，雷克都习惯向派玛拉倾吐内心里的郁闷。 某日，阿洁告诉雷克，自己爱上了一个名叫特德潘（路易斯·斯科特 Louis Scott 饰）的男人，她要和他结婚。派玛拉不离不弃的守候在心碎欲绝的雷克身边，渐渐的，雷克爱上了她，两人决定携手步入婚姻的殿堂。哪知道，在结婚典礼上，阿洁再度出现了。

Domestic difficulties develop in a working-class family when their daughter falls in love with a Jamaican. Made in the wake of the 1959 Notting Hill riots, Flame in the Streets (d. Roy Ward Baker, 1961), is a tense examination of racial prejudice. Adapted by Ted Willis from his own stage play Hot Summer Night, it had already been produced for television (ITV, tx. 1/2/1959) for the Armchair Theatre strand. In this screen presentation, Roy Ward Baker makes no allowances for liberal sensibilities and pulls few punches in delivering what he himself termed "a harsh picture". Baker's harshness, however, is not entirely without subtlety. He is careful not to be judgemental and much of what transpires is almost in the form of an exposé. Baker elicits a stirring performance from Brenda De Banzie as Nell, whose transformation from typical housewife and mother to snarling racist is the centrepiece of the drama. This is reminiscent of another Earl Cameron film, Sapphire (d. Basil Dearden, 1959), in which it is the sister of the main suspect who is finally revealed as the murderer, driven by a pathological hatred of black people. Peter Lincoln (Johnny Sekka) and Gabriel Gomez (Cameron) are driven by forces quite different from those that drive Kathie and her family, although this is not necessarily due to their cultural difference. Within the integrity of both black characters there is a sense of longing for something other, something as distant as it is difficult to express, and therefore never quite articulated. Gomez is especially keen to avoid conflict, even if this means accepting less than his ultimate worth. But his lack of assertiveness brings him into conflict with his wife Judy (Ann Lynn), who has to force him to attend the crucial union meeting at which his promotion will be decided. Rather than seize his opportunity, he would prefer others decided his fate. To a large extent this perception of West Indians died with the Notting Hill riots. Cameron's performance is assured and deliberate, while Sekka's Lincoln embodies the emotional consequences of the film - heartbreak and a sense of loss. Both characters are presented as martyrs to a higher cause. But in the end, as in reality, Gomez and Lincoln are forced to fight. Their main struggle, however, is with themselves, centred on their fleeting sense of belonging.