犯我神州者，虽远必诛！齐天带领暗皇殿绞杀域外来敌时，得知执法堂堂主张显赫叛变，以齐天兄弟要挟并与外邦勾结，齐天肃清所有反贼，回归祭奠兄弟秦峰，誓要查清真相！自此，龙皇齐天回归云城，为兄弟讨不公，护妻女，灭豪门，报家仇！弘扬正义，踏平这世间所有凶恶，最终白家真正目的浮出水面，竟与域外勾结！齐天绞灭白家和域外势力义不容辞，从此云城血染半边天！

崇祯（吕良伟）登位后，被宦官魏忠贤夺权，在朝中大权尽失后结识了辽东守关大将袁崇焕（黎汉持）及武艺高超的周廷锋（石修），合力铲除魏忠贤，崇祯重掌大权。　 　　原来魏忠贤早秘密训练一杀手组织[十三死肖]，以残害忠良，自魏忠贤死后，死肖为首的人[陈秀珠]以田妃身份搏取崇祯宠爱，伺机向崇祯报仇，崇祯因而冷落周皇后，将她打入冷宫。　 　　死肖组织内部的另一杀手曹化淳持魏忠贤的玄冥令，号令其它兄弟，图谋推翻崇祯王朝，逐步排除朝中忠臣，令崇祯众叛亲离。另一方面，田妃自邂逅廷锋，产生一段哀艳缠绵的爱情故事，与崇祯处于微妙矛盾关系，剧情高潮迭起，紧张柔情兼而有之，不容错过。

强盛集团刘强盛在中海混迹多年，为了给女儿一个安定的生活，隐姓埋名回菜场档口卖鱼。女儿刘小雅出嫁后，被老公家暴，被婆婆欺负，因害怕父亲担心，受尽欺辱而无人知晓。刘强盛最终发现女儿生活不幸的真相，帮助女儿结束了不幸的婚姻。

主角江龙一心找妹妹Helena回家，但Helena与一群年轻人为伴，闹终日玩乐，不想跟江龙回家，惟江龙坚持，Helena只好就范，但结果江龙为该群年轻人袭击，受伤被困。Helena终觉悟自己不对，所以私下拯救江龙，但江龙逃走时被袭重伤，隐居于山林。而该群年轻人开始知道他们的首领何大森一直在印伪钞，于是打算离开他，但何大森说会与他们分赃。何大森瞒着该群年轻人，暗地里与三名手下运走伪钞，但他与几名手下发生内哄，加上该群年轻人不相信何大森，令何大森众叛亲离，此时江龙向何大森寻仇，将他打死。而何大森一名手下顿觉为争夺伪钞而几乎赔上了生命，十分不值，于是烧掉了那批伪钞。

影片根据台湾著名女作家李昂的同名小说改编。《暗夜》是一部描写权力、金钱、欲望与道德冲突的小说，导演但汉章将小说搬上了银幕，表现了股票记者、商人、商人之妻三个人间的爱欲纠缠。

The Israeli-Palestinian conflict manifests in its most complicated form over one night, and the encounter between two Israeli soldiers and the two Palestinian residents of the house to which the soldiers escape after their vehicle is attacked.

《暗夜》一个恐怖的故事，发生在夜里，血腥、残暴、癫狂只要是能刺激你眼球的东西一样不少。而且全部都是用动画表现出来。 Malena 和 Pablo 兄妹俩旅行到阿根廷，发现了一本日记记载了20年前发生的罪案。这一晚一个家庭随着日记的历史重演被谋杀了，这个 Malena 和 Pablo 去查处究竟什么是真实的，什么不是真实的？……

Mixture of documentary and fiction about the dictatorial 1930s. With archive footage of 'kino newsreels', a script that is loosely based on the utopian fantasies of Fritz Lang and about the forbidden passionate love affair between a photographer and his model. The Dark Night takes Oleg Kovalov a little closer to his target: to write a complete history of the twentieth century in the language of film. Not a documentary or chronological history, but a lyrical, subjective and poetic history. In Sergei Eisenstein - An Autobiography, we witnessed the stormy 1920s and the blossoming culture of that era, in Scorpion's Garden we saw the paranoia of the Cold War and the thaw that followed. The Dark Night, just like Concert for a Rat before, is on the subject of the dictatorial 1930s. Kovalov has little faith in the documentary as a means to find truth. He does not think that the truth can be found within existing genres. So his films transgress those genres. Documentary and fiction are just as difficult to distinguish in his work as fictional characters from concrete people in old newsreels and other archive footage. That also goes for The Dark Night. The film combines archive footage from the Third Reich with a script that is loosely based on the fantasies of Fritz Lang: a lyrical thriller with horror elements. As the stylised black & white images have all been shot in reconstructed studio sets, the film has the mood of the 1930s cinema.