自古以来，尤利乌斯·冯·塔里恩贵族家庭里的女人，总是会制造混乱和丑闻。最近一次，是尤利乌斯的妹妹，她17岁怀孕又和情人私奔，被家族取消了继承权。而从此妹妹巴利亚的名字就成了家庭里不名誉的象征和谈话的禁忌，直到她的女儿巴巴拉到来后，一切发生了变化。得知妹妹去世后，尤里乌斯十分难过，后悔当初没有劝说父亲把妹妹接回到家里。于是，所有的愧疚都化成了对巴巴拉的关爱。 　　虽然舅母和表姐玛利安娜对她的到来十分不满，但舅舅和表妹德里斯的关爱还是让巴巴拉感受到了久未得到的幸福。在这里，她还遇到了挚爱——克里斯蒂安，一个年轻有为的青年。二人度过了一段美好的时光，但很快，与克里斯蒂安即将离婚的妻子莉莉亚娜的出现破坏了两人刚刚建立起来的信任。在伤心之下，巴巴拉接受了表姐未婚夫莫尔卡的求爱，并与之私奔。 　　离家出走后的巴巴拉并不幸福，莫尔卡的小气和猜忌让她十分苦闷。为了维持日常的开支，她甚至卖掉了母亲留给她的项链。巴巴拉深知已经不可能再回到尤里乌斯家族，于是离开莫尔卡后独自回到曾经生活的意大利小镇。得知一系列变故，克里斯蒂安十分自责，劝说尤里乌斯接回巴巴拉。丑闻早已过去，大女儿玛利安娜也因为失掉了一场危险的婚姻，而找到了真正的真爱。 　　尤里乌斯不想再重复妹妹巴利亚当年的悲剧，于是决定亲自去小镇寻找侄女。经过一番促膝长谈，巴巴拉终于答应重新回到家族。舅妈及妹妹原谅了她犯下的错误，这让巴巴拉十分感动，幸福的生活又回来了。只是面对克里斯蒂安，巴巴拉还有些许遗憾。但克里斯蒂安不计前嫌，他依然还爱着巴巴拉，一切误会烟消云散，一对有情人终于又走到了一起。

Director Arthur Hiller (Love Story, Silver Streak), working from screenwriter Edward Anhalt's (Becket) adaptation, transforms actor-playwright Robert Shaw's The Man in the Glass Booth into a film the Los Angeles Times dubbed, "daring, outrageous, utterly provocative, endlessly ambiguous and strikingly effective." 　　Millionaire Jewish entrepreneur Arthur Goldman (Maximilian Schell) benvolently rules his financial empire from a penthouse apartment overlooking Manhattan. Seemingly at the edge of sanity, Goldman holds forth on everyting from Papal edicts to ex-wives, from baseball to his family's massacre in a Nazi concentration camp. When Goldman remarks on a blue Mercedes continuously parked outside his building, Goldman's captive audience of assistant (Lawrence Pressman) and chauffeur (Henry Brown) dismiss their boss' anxiety as encroaching paranoia. But each of Goldman's passionate, seemingly capricious ravings are transformed into a shocking, inadvertent deposition when Israeli agents capture Goldman and put him on trial as Adolph Dorf, the commandant of the concentration camp where Goldman's family was supposedly exterminated. In a trial scene of unrelenting intensity, Academy Award© winner Schell (Judgement at Nuremberg) crafts what the Detroit Free Press called "a white-hot lead performance," mutating from eccentric Goldman to sociopath Dorf and beyond. The riddle of Dorf's true identity becomes wrapped in an enigma of cunning self-treachery and single-minded obsession. 　　Veteran cinematographer Sam Leavitt enables Hiller to coax a vividly personal and electrifying intelligent dual portrait out of Schell. The Man in the Glass Booth is a timeless drama of surprising intimacy and indefatigable courage, "possessing," declared the Los Angeles Times, "a remarkably resilient sense of lightness for all the profound questions it ponders."

根据捷克民谣改编的七个小故事： 　　1.一位妇人死在归家的途中，年幼的孩子们每天去坟前看她，呼唤着陷入永眠的母亲； 　　2.少女不听母亲的劝告，去湖边游玩，落入水中后她与水怪结为夫妻； 　　3.一对情侣，男人奔赴战场，苦等多年的女子日日祈祷爱人归来，她的愿望成真； 　　4.一位母亲辛苦 准备晚饭，她年幼的儿子却纠缠不止。母亲一气之下，让门外的百日巫师将儿子带走，不曾想…… 　　5.某国君主在森林中驰骋时，撞见一个正在沐浴的绝世美女，他向女子的继母提亲，为了将亲生女儿将给国王，恶毒的老女人不惜残忍杀害继女； 　　6.少女承认自己堕胎，深感罪恶的她走向绞刑架，临终前向母亲发出了诅咒； 　　7.两个女孩聊天，传说在午夜凿开冰层，便能从水中看到爱人的样子。

根据捷克民谣改编的七个小故事： 　　1.一位妇人死在归家的途中，年幼的孩子们每天去坟前看她，呼唤着陷入永眠的母亲； 　　2.少女不听母亲的劝告，去湖边游玩，落入水中后她与水怪结为夫妻； 　　3.一对情侣，男人奔赴战场，苦等多年的女子日日祈祷爱人归来，她的愿望成真； 　　4.一位母亲辛苦 准备晚饭，她年幼的儿子却纠缠不止。母亲一气之下，让门外的百日巫师将儿子带走，不曾想…… 　　5.某国君主在森林中驰骋时，撞见一个正在沐浴的绝世美女，他向女子的继母提亲，为了将亲生女儿将给国王，恶毒的老女人不惜残忍杀害继女； 　　6.少女承认自己堕胎，深感罪恶的她走向绞刑架，临终前向母亲发出了诅咒； 　　7.两个女孩聊天，传说在午夜凿开冰层，便能从水中看到爱人的样子。

声名大噪的男演员凯文事业顺风顺水，却因一次意外在野外失踪，苏醒的他发现自己在一个偏僻到没有手机信号的屋子里，而这里住着一个年轻貌美的女人和一个“哑巴”男人，女人悉心照料他，但凯文始终觉得这儿的一切都没这么简单...

本片探索在疫情期间之后，台北的同志如何重新回到一个曾经热闹的猎艳地点，同时也探索彼此的身体……在夜里用手机的微弱灯光照亮并寻找彼此，像是野花绽放……

一种空虚的感觉、一颗躁动的心和两片土地。将它们结合在一起的虚空中会诞生什么？《野花》是一篇关于不理想、失控和二元性的诗意散文，旨在探索人类与自然无法控制的一面之间互动的不同可能性。

农民工吴勇常年在外务工，妻子敏敏因情感空虚被职业骗子王哥盯上。王哥以虚假感情为饵，虚构高回报投资项目，诱骗敏敏抵押房产、借贷，甚至转移家庭财产。敏敏沉迷暴富幻想，疏于家庭，逐渐出轨。吴勇察觉异常后暗中调查，发现妻子陷入诈骗陷阱，而背后王哥团伙层层设局。

《野花的芬芳》是南斯拉夫著名导演卡拉诺维奇的首部长片，他在两年后拍摄了那部被选入南斯拉夫影史十佳的《佩特拉的花圈》（1980）。但真正让其在国际上一鸣惊人的还是这部《野花的芬芳》，故事与后来美国的《ED TV》和《楚门的世界》很相似，也是讽刺媒体对私人生活的侵入。 　　当年此片曾获法国嘎纳国际电影节FIPRESCI奖，而与其并列的正是波兰导演瓦依达的名作《大理石人》。 　　A television actor and his friend, a barge captain, abandon their everyday lives without a thought in this dark comedy. They do not mind that a television news crew is following them. It is with almost a sense of relief that they are overwhelmed by crowds of equally discontented people leaving their lives, who look to the camera crew to swell their numbers as their actions become part of news reports. ~ Clarke Fountain, All Movie Guide 　　Srdjan Karanovic began his career as a director of short films and television programs. In cinema, Karanovic is a prominent member of the "Prague School" of Yugoslav filmmakers; he graduated from the Czech city's prestigious film school FAMU (in Karanovic's case, in the class of 1970). His best-known films include Miris Poljskog Cveca/The Scent of Wild Flowers (1977), Petrijin Venac/Petrija's Wreath (1980), and Jagode u Griu/A Throatful of Strawberries (1985). Also a screenwriter, Karanovic often collaborates with filmmaker Rajko Grlic. ~ Sandra Brennan, All Movie Guide