A shipping tycoon with a record becomes a suspect when money goes missing from the company vault.

A telephone rings in the dark—three times, pauses, then rings three times again. A fully-clothed figure lights a cigarette before rising from bed, dons a raincoat, then sets out into the night. Another figure emerges from the shadows, lights a cigarette, then discards a crumpled cigarette pack, which the first picks up and carries home. Back in his room, the first man places the refuse on his desk, paces apprehensively about his apartment before he finally removes the inner foil and examines it. After letting what it reveals sink in, he sets it on fire, and a cold look comes over his face... Thus begins The Thief, a 1952 cold war, espionage thriller—unique in that it is completely without dialogue—directed by Russell Rouse, and produced by Clarence Greene, who co-wrote the screenplay. Allan Fields (Ray Milland) is an award-winning nuclear scientist working at the Atomic Energy Commission research laboratory. He is also a spy, photographing top secret documents, then relaying the miniature film canisters back through an elaborate network to enemy agents in Egypt. His signal is the telephone, and his liaison outlines his assignments through instructions on his cigarette refuse, with nary a word spoken. It is a dangerous business, and one that creates many close calls—too close for comfort. When one of his assignments goes awry, the FBI begins to close in, and the race is on to leave the country before he is caught. The Thief has all the trappings of classic noir. Produced at the height of the "Red Scare," the film manages to maintain a constant state of tension, relying heavily on reaction shots and Herschel Burke Gilbert's riveting musical score. The cinematography heightens the effect, utilizing lighting and camera angles to convey the unspoken. Milland, who won an Oscar® for his role in Billy Wilder's The Lost Weekend, carries the part off to perfection, letting the audience read his character's thoughts solely through facial expression and body language. The direction also fools the audience into anticipating dialogue, then cleverly avoiding it. Only the Oscar®-nominated score and sound effects break the silence. This is a fascinating use of visuals to tell a story, and a gripping suspense film, which held my interest throughout, and aside from one sequence where Fields' conscience begins to plague him, the narrative is fairly straight forward, without much in the way of gimmickry. Avoid the back cover text because it gives away the ending, which was the only part that didn't really work for this reviewer. For those interested in cold war-era film noir, this is certainly worth a look, if for no other reason than its uniqueness.

一场都市生活的闹剧，一次道德底线的碰触，一出令人捧腹又倍感心酸的演绎，一声无奈地呐喊——《贼》这一部高清作品向我们绘声绘色的讲述了生活在都市底层的无业小青年、痴傻的乞讨者以及善于伪装的小偷之间发生偷窃与被偷窃，侮辱与被侮辱，人性的挣扎与沉沦。当这种小人物式的沉重被用一种活灵活现又不失幽默地口吻讲述出来，给人一种加倍的心灵触动，让人深省......

20世纪60年代，日本学生运动渐次激烈，学生和政府之间的对抗朝着暴力的方向失控狂奔。某晚，登川直造（笹原茂朱 饰）、丸山国男（山川蜜 饰）等人领导的学生组织在据点内遭到警方搜捕，混乱之中，他们夺下警察的配枪夺路而逃。在经过某个漆黑巷道时，他们将手枪扔在公共厕所的洗脸盆中，被路过于此的公司青年职员铃木（秋山未知污 饰）拾得。厌倦了枯燥呆板的公司氛围以及平庸无望的生活，铃木追上众人，希望加入他们的组织。次日，登川等人的拒捕行动被媒体歪曲成袭击警察的恶性案件。为避风头，他们跟随铃木躲进郊外一所公寓中，日常以吃喝、做爱打发时间，所有外务全由铃木打理。 学运的失败和理想的破灭让这群年轻人朝向破灭，纵情享乐。铃木却不愿面对这样的失败……

2006年6月在Annecy国际动画电影节上评选出的“动画的世纪·100部作品”第28名。曾获奥斯卡最佳动画短片提名

1990年代的里约热内卢对伊凡德罗这个充满建立一个犯罪帝国野心的企业家来说是完美的地点。但伊凡德罗的计划遇上了一个劲敌：一个有自我毁灭倾向的联邦警察莫雷洛。莫雷洛将伊凡德罗视为一个够资格的对手。狩猎行动开始了。

Skilled Phra Nakhon police officer Kitkong is sent after the White Flower Thief who targets the rich. Fate, however, has Kitkong fall in love with kind-hearted, clever Bussaba, unaware that she's the very thief he's been chasing.

联合国非裔黑人女医生安娜莎在非洲执行医疗任务时被一个奴隶贩子绑架了。从这一刻起，她的丈夫会做任何事情来找回她，惩罚恶人，但这并不是一件容易的事。。。

Stories centered on relationships from a sexual point of view.

建州博物馆的镇馆之宝，一对汉代虎符离奇失窃，盗窃团伙作案手法高超，警方分析这是一起有组织有预谋的盗窃行动，此案一出轰动全国。通过一系列调查，专案组组长孙韶霜怀疑此案是古城奉京的窃贼势力所为，幕后黑手就是号称“贼王”的古风城。为了找回国宝，孙韶霜委派警察平三戈伪装成名不见经传的小贼，在反扒民警厉闯的协助下，深入奉京“窃贼江湖”展开调查。平三戈通过结识“贼王”徒弟布狄，拜古风城为师，获得了古风城的信任。古风城委派平三戈与国外走私团伙交易虎符，我国公安与国际刑警合作，暗中布局，将国外走私团伙和国内盗窃势力一网打尽，奉京的“窃贼江湖”被连根拔起。