国家电视台天气预报主持人萨尔瓦多退休后在一家私人电视台重新找到一份工作，但女儿劳拉和女婿马可从乌克兰领养了一个女孩马柳斯卡，打乱了萨尔瓦多的计划。孩子的到来给一家人带来了欢乐，但也带来了烦恼，甚至影响到了劳拉和马可的关系。在老人的帮助下，一家人又变得其乐融融。 　　不幸的是,劳拉和马可度假回来的路上发生严重车祸,夫妇两个人先后离开人世,有关部门需要重新决定马柳斯卡的去向……

国家电视台天气预报主持人萨尔瓦多退休后在一家私人电视台重新找到一份工作，但女儿劳拉和女婿马可从乌克兰领养了一个女孩马柳斯卡，打乱了萨尔瓦多的计划。孩子的到来给一家人带来了欢乐，但也带来了烦恼，甚至影响到了劳拉和马可的关系。在老人的帮助下，一家人又变得其乐融融。 　　不幸的是,劳拉和马可度假回来的路上发生严重车祸,夫妇两个人先后离开人世,有关部门需要重新决定马柳斯卡的去向……

Karim and Hebba are a young married and loving couple. Both have great careers. Karim is just about to be appointed as editor-in-chief of the greatest governmental newspaper. Hebba is the hostess of much appreciated TV programs about female victims, e.g. daughters who are buried alive because of improper behaviour, people drowning when attempting illegal immigration to Europe. Karim is told that he will only be appointed if his wife avoids political topics. He does persuade her to make programs on ordinary people instead. But her "non-political" programs will become even more repugnant to the authorities

Karim and Hebba are a young married and loving couple. Both have great careers. Karim is just about to be appointed as editor-in-chief of the greatest governmental newspaper. Hebba is the hostess of much appreciated TV programs about female victims, e.g. daughters who are buried alive because of improper behaviour, people drowning when attempting illegal immigration to Europe. Karim is told that he will only be appointed if his wife avoids political topics. He does persuade her to make programs on ordinary people instead. But her "non-political" programs will become even more repugnant to the authorities

A Hitchcockian narrative and noirish atmosphere characterise this effective, taut thriller, made the same year as the director's magnum opus, JIGOKU (Hell). Set in the present day, DEATH ROW WOMAN is at once a prison film, an innocent-man/woman-on-the-run story, a police procedural, and a family melodrama, that is equal parts Hitchcock, Samuel Fuller and Douglas Sirk. 　　Rich industrialist Imai wishes to marry his elder daughter Kyoko off to Aoki, who he sees as the ideal candidate to take over his business. Kyoko, however, prefers the rugged but poor Soichi to Aoki's goody-two-shoes. That night, Kyoko decides to confront her father, refusing to marry Aoki and dropping the bombshell that she is pregnant with Soichi's child. She is banned from the family, but seconds after she leaves the room, her father drops dead, poisoned. All evidence points toward Kyoko, who is sentenced to death despite her insistent claims that she is innocent. When she goes on the lam after a prison break, she realizes that in order to prove her innocence, she has to team up with the fiancé she rejected.

A Hitchcockian narrative and noirish atmosphere characterise this effective, taut thriller, made the same year as the director's magnum opus, JIGOKU (Hell). Set in the present day, DEATH ROW WOMAN is at once a prison film, an innocent-man/woman-on-the-run story, a police procedural, and a family melodrama, that is equal parts Hitchcock, Samuel Fuller and Douglas Sirk. 　　Rich industrialist Imai wishes to marry his elder daughter Kyoko off to Aoki, who he sees as the ideal candidate to take over his business. Kyoko, however, prefers the rugged but poor Soichi to Aoki's goody-two-shoes. That night, Kyoko decides to confront her father, refusing to marry Aoki and dropping the bombshell that she is pregnant with Soichi's child. She is banned from the family, but seconds after she leaves the room, her father drops dead, poisoned. All evidence points toward Kyoko, who is sentenced to death despite her insistent claims that she is innocent. When she goes on the lam after a prison break, she realizes that in order to prove her innocence, she has to team up with the fiancé she rejected.

分段式恐怖片，包括《饥饿小乔》，《勿忘我草》，《血红之水》，《传送福音》

分段式恐怖片，包括《饥饿小乔》，《勿忘我草》，《血红之水》，《传送福音》

死刑犯 A，杀害好友后勒赎。死刑犯陈昱安，砍杀父亲 111 刀。死刑犯郑捷，于捷运上随机杀人。「死 刑犯」是司法给他们的一个标籤，但这三个人作为 人的身分却为人漠视，而至亲所背负之痛，更从来 无人知晓⋯⋯。曾以纪录片《起点》、《我无罪，我是郑性泽》长 期关注司法议题的导演李家骅，这次选择了三位犯 行各异的死刑犯为主角，有人尚在服刑，有人在狱 中自戕身亡，有人已遭到枪决伏法。在「杀人偿命」 的正义大纛前，他们的命运殊途同归，宛如报废的 物件，但在律师、死囚家属面前，标籤之后却是一 个个血肉之躯。全片以平实的採访片段与报导影像， 不拘泥于法条本身，而是深刻表达了导演对「人」 的处境的关怀，爬梳现代台湾司法死刑史之馀，也 引出了对现行体制的叩问。

死刑犯 A，杀害好友后勒赎。死刑犯陈昱安，砍杀父亲 111 刀。死刑犯郑捷，于捷运上随机杀人。「死 刑犯」是司法给他们的一个标籤，但这三个人作为 人的身分却为人漠视，而至亲所背负之痛，更从来 无人知晓⋯⋯。曾以纪录片《起点》、《我无罪，我是郑性泽》长 期关注司法议题的导演李家骅，这次选择了三位犯 行各异的死刑犯为主角，有人尚在服刑，有人在狱 中自戕身亡，有人已遭到枪决伏法。在「杀人偿命」 的正义大纛前，他们的命运殊途同归，宛如报废的 物件，但在律师、死囚家属面前，标籤之后却是一 个个血肉之躯。全片以平实的採访片段与报导影像， 不拘泥于法条本身，而是深刻表达了导演对「人」 的处境的关怀，爬梳现代台湾司法死刑史之馀，也 引出了对现行体制的叩问。