Made for TV drama recreating the May 1937 disaster in which the German airship the Hindenburg caught fire. The Hindenburg was the largest airship in the world and a symbol of growing German commercial and military power. Initially designed to use the non-flammable helium as a lifting gas, the US embargo on helium exports forced the use of hydrogen instead. This proved catastrophic when, docking in New Jersey in 1937, the ship caught fire and burned furiously before the eyes of the world. The drama follows some of the Hindenburg's passengers, including an airship designer, Gestapo agents and fleeing Jews, as they journey towards tragedy. 　　由德国人所设计的「兴登堡号」飞船，以804英尺的长度名列史上最壮观的载客飞船。它优美的外观线条加上内部一流的设备有如豪华的空中游轮，能搭乘此船可说是一生中极尽奢华的享受。然而，发生在1937年的一场重大灾难事件，彻底终止了飞船的黄金年代。兴登堡号在降落时发生爆炸意外，熊熊烈火将整艘船燃烧殆尽。 　　故事讲述一九三九年，一艘满载各式人等飞往纽约的德国造兴登堡飞船，在抵达纽约上空时发生爆炸，造成了历史上的大悲剧。

罗伯特.怀斯执导的该部灾难片根据真实事件改编而成。故事讲述一九三九年，一艘满载各式人等飞往纽约的德国造兴登堡飞船，在抵达纽约上空时发生爆炸，造成了历史上的大悲剧。

旅行家“尚镇”独自住进了一间没有主人的山中民宿，他偶然遇到青年“赫秀”并接受了他的帮助。但在得知“赫秀”有前科后，尚镇对赫秀的过度热情感到负担。突然出现在民宿的神秘猎人，以及冒冒失失投宿进来的人们，都让尚镇感到无端的烦躁和莫名威胁。一天晚上，暴雪突至将“尚镇”和陌生人们一起困在了民宿，更惊现一具带血尸体。究竟谁才是杀人凶手？“尚镇”和周围的人们之间互相产生猜疑，而随后出现的警察身上竟也是疑点重重。

旅行家“尚镇”独自住进了一间没有主人的山中民宿，他偶然遇到青年“赫秀”并接受了他的帮助。但在得知“赫秀”有前科后，尚镇对赫秀的过度热情感到负担。突然出现在民宿的神秘猎人，以及冒冒失失投宿进来的人们，都让尚镇感到无端的烦躁和莫名威胁。一天晚上，暴雪突至将“尚镇”和陌生人们一起困在了民宿，更惊现一具带血尸体。究竟谁才是杀人凶手？“尚镇”和周围的人们之间互相产生猜疑，而随后出现的警察身上竟也是疑点重重。

苏联内战时期，在一场惊天大海战之后，一艘叫“海鹰号”的巨轮被白匪威胁开出了停泊港，想据为己有。老船长为了完成上级的指示，果断而机智地选择了将船自沉海底，由此彻底断送了白匪的非分之想，然而所有船员也都因此献出了宝贵的生命。 　　苦干年后，苏联政府决定不惜代价、克服困难将“海鹰号”打捞上来，负责执行此次寻找和打捞任务的是红旗特种水底工作队，他们驾驶着“碟鱼号”开始了搜寻工作。打捞队伍中还有一位特殊的成员——“海鹰号”老船长的儿子齐斯嘉高夫，他是国内首屈一指的潜水员，为了帮助父亲完成遗愿，他主动请缨加入了这次困难重重的工作。 　　多日的细致搜查始终没有结果，“海鹰号”仍不知地躺在大海的哪个角落，就在搜寻工作陷入困境之时，一只无意间打捞上来的破旧铁盆却使事情发生了转机，因为铁盆上的烙印清晰地刻着“海鹰号”几个字，船长格鲁杰夫立即命令齐斯嘉高夫潜入水底侦察。发现“海鹰号”就完好无损地沉睡在大海的深处。在沉船前，因为船员们早已将所有的机器都抹上了三层厚厚的机器油，因此“海鹰号”虽然在海水中浸泡了多时但仍没有受到任何损坏。 　　打捞工作进行得空前顺利，不久，雄壮的“海鹰号”便投入到了新的战斗中…… 　　精彩视点：被誉为前苏联优秀电影的珍藏版，是前苏联经典电影系列之一。曾获得过前苏联电影的最高奖项“功勋奖”。

新垣结衣在上海拍摄的心情短剧。新垣结衣一人分饰两角，讲说她独自到上海旅行，偶遇与自己长相一模一样的女生

The fear of being overwhelmed by the outside world can almost litterally make you lose your head...

A diary film about a relationship between a man (Alain Cavalier) and a woman, told entirely through voice-overs by the two participants, spoken over largely static images (of household objects, animals, parts of the body, rooms, landscapes etc.). At times an emotional direction emerges (an articulation of love, loss, frustration), then it retreats. At times the film seems to be about its own making; at others it seems merely to drift. 　　Imdb Review: Alain Cavalier's latest film is deceptively simple and yet revolutionary because it seems to stand outside the boundaries of narrative and documentary filmmaking. One could describe "La Rencontre" as a cinematic diary--a home movie that documents the filmmaker and his muse during the course of their relationship. But unlike most movies the human subjects here are never photographed in whole, just partially. This brave new work is as much about Cavalier's object of desire, that is, his lover as it is about the medium that gives expression to his love. It is conceived as one part confessional and one part discourse on the metaphysics of love and cinema. The cinema, for Cavalier, is like a two-way mirror that records images while reflecting those images back onto itself. Subject and object appear to mirror each other's identity until they assume new personae in the process. 　　The immediate challenge for Cavalier, then, is cinema's objective gaze: the ability of the camera to record the physical nature of reality. But Cavalier's chief interest is just the opposite. He wants to demonstrate the possibility of a new cinema: one that evolves out of concealment and subterfuge. This cinema deemphasizes the human landscape and dislocates the image from its voice. It focuses inward rather than outward, and chooses to explore the intangible and the abstract over the tactile and the concrete. 　　Appropriately, Cavalier's cine-diary unfolds like an open book: his twin loves (muse and cinema) are illuminated through a series of tableaux filled with close-up objects which are brought vividly to life by the imagination and the transfigurative power of the cinema. It is as if these everyday objects have become the lovers' collective memories saturated with the emotions and energy of life. In short these objects have assumed a life of their own becoming humanized and perhaps immortalized in the process. After all isn't this precisely the paradox of cinema--the ability to resurrect inanimate objects, to bring them back to life at 24 frames per second?

Carl checks into a hotel and promptly steps out onto the ledge, apparently intending to kill himself. Carl recounts the events that have led him to this decision. His beautiful wife Karen was having an affair with a married man called Steve and eventually decides to leave her husband for him. Carl warns her that men like Steve will never leave their wives for a mistress but she dismisses this only to find that her husband had it right all along. In despair, she commits suicide. On the ledge, Carl seems willing to talk only to the local beat cop, Officer Barrett who goes out on the ledge to talk Carl into stepping back into the room. Little does he know that this is exactly what Carl had in mind.