拳击手曼尼（Demián Bichir 饰）长年从事激烈运动，身体接近崩溃边缘，而这样一个小人物却引起天堂和地狱的关注。濒临倒闭的天堂公司接到曼尼母亲的祷告，同时也为改善天堂的经营状况，于是派出拥有美丽歌喉的天使劳拉（Victoria Abril 饰）降入人间，假扮成曼尼的女友，以规劝其放弃拳击。 　　而另一方面，地狱方面也出于自己的目的，派出性感妖艳的魔鬼天使卡门（Penélope Cruz佩内洛普•克鲁兹 饰），扮作曼尼的表妹来鼓励他继续拳击…… 　　本片荣获2002年西班牙影评人协会奖最佳配乐奖。

An examination of the ideology of Anarchism

Two siblings are trying to cope with their brutal past, as their inner beast are leading them on a path to destruction.

桃乐丝，一名性感却淡泊的巴西女学生，居住在圣地亚哥。达米安，热心诚挚却迷信的墨西哥记者，在夜店邂逅了同朋友一起去的桃乐丝。桃乐丝的护照被窃，她和达米安一起搭车到墨西哥城补办。两人的旅途由一段平常的遭遇演变成一段宿命，一段负载着对于生命和死亡的意义思考的抽象旅程...

钟灿（金柱赫 饰）和妻子妍红（孙艺珍 饰）结婚多年，膝下有一可爱的女儿，两人男才女貌，在外人眼中是如同神仙眷侣一般的存在。钟灿涉足政坛，事业小有成就，同僚们都知道，他将有极大的可能成为下一任的国会议员。 某一日，厄运降临到了这个幸福的家庭之中，女儿无故失踪下落不明，留下难以解释的模糊线索，令警方毫无头绪。让妍红感到不可思议的是，对于女儿的失踪，钟灿似乎并没有那么焦急，他脑中所想的，只有如何在下一场竞选中取得胜利，夫妻两人之间的感情因此而产生裂痕。无奈之下，妍红只得强打起精神，她知道，女儿所能依靠的只有自己。

一名受人尊敬的主播（高庚杓 饰）突然在播报时失去自我约束力，此举吸引了一名电视台编剧（姜汉娜 饰）的注意，并邀请他上自己的综艺节目。

Evelyne Morin has known much misfortune in her life. Widowed, after being married to an unscrupulous adventurer, she ends up working as a call-girl in a Montmartre nightclub just so that she can bring up her young son. But Evelyne has hopes of escaping from this degrading life. One evening, she meets Georges, a Canadian friend, whom she once considered marrying. Since she last met him, Georges has become rich and highly respected as a doctor. To conceal her downfall, Evelyne pretends to be a respectable woman, with the help of Paul Mazuraud, an odious man who provides her with the wherewithal for her to keep up this deception. When her son unintentionally gives the game away, Evelyne places him in the care of her Canadian friend and then fades away into the fog...

The subtitle of Jean-Marie Straub and Danièle Huillet’s first feature, from 1965, “Only Violence Helps Where Violence Reigns,” suggests the fierce political program evoked by their rigorous aesthetic. The pretext of the film, set in Cologne, is Heinrich Böll’s novel “Billiards at Half Past Nine,” which they strip down to a handful of stark events and film with a confrontational angularity akin to Bartók’s music that adorns the soundtrack. The subtlest of cues accompany the story’s complex flashbacks. The middle-aged Robert Fähmel tells a young hotel bellhop of persecutions under the Third Reich; his elderly father, Heinrich, an architect famed for a local abbey, recalls the militarism of the First World War, when his wife, Johanna, incurred trouble for insulting the Kaiser. A third-generation Fähmel is considering architecture, just as the exiled brother of Robert’s late wife, returns, only to be met by their former torturer, now a West German official taking part in a celebratory parade of war veterans. Straub and Huillet make the layers of history live in the present tense, which they judge severely. The tamped-down acting and the spare, tense visual rhetoric suggest a state of moral crisis as well as the response—as much in style as in substance—that it demands.

老人斯拉维萨（Miodrag Krstovic 饰）与女儿女婿住在一起。他的老伴已经去世，而他渐渐患上了阿茨海默综合征，记忆力不断减退。他甚至忘记了自己曾经当教授时写过的教材，而在雨夜中也会迷失回家的路。 斯拉维萨只有在老伴的墓碑前才显得头脑清晰，每次都表达着对逝去的伴侣的思念和对当前无奈的感受。女儿和女婿忙于工作和照顾他们自己的家庭，无法完美的顾及到老人的需求。最终，他们不得不做出决定，将老人送进养老院，那里毕竟是专业照顾老人的机构。为了降低老人摔倒的风险，养老院没有设置台阶。虽然在决定和送老人去之间有很多不舍和无奈，但这被认为是最好的选择。