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演員：松米特拉·查特吉 莎米拉·泰戈爾 Alok Chakravarty
導演：薩蒂亞吉特·雷伊
劇情：本片是阿普三部曲（大路之歌、不屈者、阿普的世界），第一部是與生長的地方的聯繫，第二部是與父母的聯繫(在第二部裡，阿普的父母相繼棄他而去)，第三部是與愛人和孩子的聯繫。全片最突出的地方，是以一位不滿十歲的少年的視線界來觀賞人類與大自然生活的共通性。 “阿普三部曲”奠定了薩雅吉雷在印度電影發展史上崇高藝術地位。 薩雅吉雷的電影是很難定位他的電影類別及風格。但可確定的是他的電影是印度傳世經典之作，具有文學藝術價值，他具有普世價值的電影故事，永遠深值人心。 日本名導演黑澤明(Akira Kurosawa)對.薩雅吉雷有極中肯的評價：如果我們泠靜深沈的觀察，瞭解人類對愛的演進，在薩雅吉雷的電影中你必有所感動和共嗚，.薩雅吉雷電影是電影工業的指標。 印度電影大師薩蒂亞吉特·雷伊的《阿普三部曲》，曾榮獲戛納電影節最佳人文紀錄片獎。三部電影每一部都自成佳作，它們以樸素、強烈的感情和視覺上的獨特美感給人以心靈上的震撼，從而確立了Ray在世界頂尖導演中的地位。
演員：瑪米·範多倫 萬皮拉 威廉·沙勒特 詹姆斯·米楚姆 蓋·斯托克維爾 Renata·Vanni Regina·Carrol 傑基·庫根 雷·丹頓 希德·梅爾頓 菲伊·斯潘 Norman·Grabowski 安妮·安德森 Paul·Genge 吉爾·帕金斯 路易斯·阿姆斯特朗 史蒂夫·柯臣 Larri·Thomas 瑪格麗特·海斯 艾瑞什·麥考拉 Phyllis·Douglas Camille·Williams Max·'Slapsie·Maxie'·Rosen
導演：查爾斯·F·哈斯
劇情：斯坦·赫斯（Ray Danton）平日偽裝成垮掉派成員，實際卻是個連環強姦犯，他對女人恨之入骨，通過強姦的方法來報復女性，每次作案後他都會留下一小盒阿司匹林，因此被稱為阿司匹林小子。戴維·卡洛蘭警司（Steve Cochran）負責調查阿司匹林小子一案，然而他也有厭女傾向，他認為很多強姦案的受害者並非是真正的受害者，而是主動勾引對方的蕩婦，同時因為曾被第一任妻子出過軌，他總是對自己的現任妻子疑神疑鬼，動不動就像審訊犯人一樣盤問她。令他出乎意料的是，他的妻子弗蘭絲（Fay Spain）居然也成了阿司匹林小子的受害者，並且不幸懷了孕，他和妻子的關係因此而僵到極點，同時他下定決心要抓到阿司匹林小子。阿蒂·賈斯特（James Mitchum）是斯坦·赫斯的幫兇，斯坦為了創造出兩個阿司匹林小子來迷惑警察，派賈斯特去強姦喬治亞·阿爾特拉（Mamie Van Doren），然而中途卻橫生枝節，同時也讓警方找到了可以破案的線索。
演員：羅莎娜·斯基亞菲諾 愛爾莎·瑪蒂妮利 洛朗·特茲弗
導演：莫洛·鮑羅尼尼
劇情：The exploits of three young Roman criminals are chronicled in this socially conscious drama. The young men commit petty crimes all day begin with arms theft, and culminating with a night with three streetwalkers. After their pleasure, the boys try to cheat the hookers, but they ladies are smarter than that and have stolen their cash ahead of time. The punks then return to the city for more crimes. Exploits include the harassment of three homosexuals, and attempts to seduce some women.
演員：馬歇爾·湯普森 Marla Landi Bill Edwards 羅伯特·艾爾斯
導演：羅伯特·戴
劇情：立志當人類歷史上第一位宇航員的丹•米爾頓•普雷斯科特（比爾•艾德華斯 Bill Edwards 飾）駕駛代號Y-12的宇宙飛船前往太空，在進入外太空的一剎那，他因為過於興奮而忽略了總部的命令，最終導致飛船失控。飛船墜入大氣層，與總部失去聯繫。不久，國防部的人找到飛船殘骸，而惹出禍端的丹卻在女友處瀟灑快活。 丹的特立獨行給國防部高層留下極深的印象，他們頂住各方壓力，仍然決定派遣丹駕駛Y-13再次前往太空。當達到600’000尺的高度時，丹的老毛病再次復發。他不顧總部的命令，直線衝入外太空。結果飛船失控，受到宇宙粉塵襲擊，最終爆炸。國防部找到飛船遺骸，卻未見到丹的身影。隨後不久，一個恐怖嗜血的生物開始在城市中出沒……
演員：文森特·普萊斯 朱迪思·伊夫林 菲利普·柯立芝 達里爾·希克曼 帕梅拉·林肯
導演：威廉·卡斯爾
劇情：A pathologist, Dr. Warren Chapin (played by Vincent Price), discovers that the tingling of the spine in states of extreme fear is due to the growth of a tingler—a spinal parasite which can kill the host unless it is destroyed by screaming.
演員：未知
導演：居伊·德波
劇情：Voice 1 (male professional announcer type) This neighborhood(1) was made for the wretched dignity of the petty bourgeoisie, for respectable occupations and intellectual tourism. The sedentary population of the upper floors was sheltered from the influences of the street. This neighborhood has remained the same. It was the strange setting of our story, where a systematic questioning of all the diversions and works of a society, a total critique of its idea of happiness, was expressed in acts. These people also scorned subjective profundity. They were interested in nothing but an adequate and concrete expression of themselves. Voice 2 (Debord, monotone) Human beings are not fully conscious of their real life - usually groping in the dark; overwhelmed by the consequences of their acts; at every moment groups and individuals find themselves confronted with results they have not wished. Voice 1 They said that oblivion was their ruling passion. They wanted to reinvent everything each day; to become the masters and possessors of their own lives. Just as one does not judge a man according to the conception he has of himself, one cannot judge such periods of transition according to their own consciousness; on the contrary, one must explain the consciousness through the contradictions of material life, through the conflict between social conditions and the forces of social production. The progress achieved in the domination of nature was not yet matched by a corresponding liberation of everyday life. Youth passed away among the various controls of resignation. Our camera has captured for you a few aspects of a provisional microsociety. The knowledge of empirical facts remains abstract and superficial as long as it is not concretized by its integration into the whole ” which alone permits the supersession of partial and abstract problems so as to arrive at their concrete essence, and implicitly at their meaning. This group was on the margins of the economy. It tended toward a role of pure consumption, and first of all the free consumption of its time. It thus found itself directly engaged in qualitative variations of everyday life but deprived of any means to intervene in them. The group ranged over a very small area. The same times brought them back to the same places. No one went to bed early. Discussion on the meaning of all this continued... Voice 2 Our life is a journey ” In the winter and the night. ” We seek our passage...� Voice 1 The abandoned literature nevertheless exerted a delaying action on new affective formulations. Voice 2 There was the fatigue and the cold of the morning in this much-traversed labyrinth, like an enigma that we had to resolve. It was a looking-glass reality through which we had to discover the potential richness of reality. On the bank of the river evening began once again; and caresses; and the importance of a world without importance. Just as the eyes have a blurred vision of many things and can see only one clearly, so the will can strive only incompletely toward diverse objects and can completely love only one at a time. Voice 3 (young girl) No one counted on the future. It would never be possible to be together later, or anywhere else. There would never be a greater freedom. Voice 1 The refusal of time and of growing old automatically limited encounters in this narrow, contingent zone, where what was lacking was felt as irreparable. The extreme precariousness of the means of getting by without working was at the root of this impatience which made excesses necessary and breaks definitive. Voice 2 One never really contests an organization of existence without contesting all of that organization's forms of language. Voice 1 When freedom is practiced in a closed circle, it fades into a dream, becomes a mere representation of itself. The ambiance of play is by nature unstable. At any moment ordinary life� can prevail once again. The geographical limitation of play is even more striking than its temporal limitation. Any game takes place within the contours of its spatial domain. Around the neighborhood, around its fleeting and threatened immobility, stretched a half-known city where people met only by chance, losing their way forever. The girls who found their way there, because they were legally under the control of their families until the age of eighteen, were often recaptured by the defenders of that detestable institution. They were generally confined under the guard of those creatures who among all the bad products of a bad society are the most ugly and repugnant nuns. What usually makes documentaries so easy to understand is the arbitrary limitation of their subject matter. They describe the atomization of social functions and the isolation of their products. One can, in contrast, envisage the entire complexity of a moment which is not resolved into a work, a moment whose movement indissolubly contains facts and values and whose meaning does not yet appear. The subject matter of the documentary would then be this confused totality. Voice 2 The era had arrived at a level of knowledge and technical means that made possible, and increasingly necessary, a direct construction of all aspects of a liberated affective and practical existence. The appearance of these superior means of action, still unused because of the delays in the project of liquidating the commodity economy, had already condemned aesthetic activity, whose ambitions and powers were both outdated. The decay of art and of all the values of former mores had formed our sociological background. The ruling class's monopoly over the instruments we needed to control in order to realize the collective art of our time had excluded us from a cultural production officially devoted to illustrating and repeating the past. An art film on this generation can only be a film on its absence of real creations. Everyone unthinkingly followed the paths learned once and for all, to their work and their home, to their predictable future. For them duty had already become a habit, and habit a duty. They did not see the deficiency of their city. They thought the deficiency of their life was natural. We wanted to break out of this conditioning, in quest of another use of the urban landscape, in quest of new passions. The atmosphere of a few places gave us intimations of the future powers of an architecture it would be necessary to create to be the support and framework for less mediocre games. We could expect nothing of anything we had not ourselves altered. The urban environment proclaimed the orders and tastes of the ruling society just as violently as the newspapers. It is man who makes the unity of the world, but man has extended himself everywhere. People can see nothing around them that is not their own image; everything speaks to them of themselves. Their very landscape is alive. There were obstacles everywhere. There was a cohesion in the obstacles of all types. They maintained the coherent reign of poverty. Everything being connected, it was necessary to change everything by a unitary struggle, or nothing. It was necessary to link up with the masses, but we were surrounded by sleep. Voice 3 The dictatorship of the proletariat is a desperate struggle, bloody and bloodless, violent and peaceful, military and economic, educational and administrative, against the forces and traditions of the old world. Voice 1 In this country it is once again the men of order who have rebelled. They have reinforced their power. They have been able to aggravate the grotesqueness of the ruling conditions according to their will. They have embellished their system with the funereal ceremonies of the past. Voice 2 Years, like a single instant prolonged to this point, come to an end. Voice 1 What was directly lived reappears frozen in the distance, fit into the tastes and illusions of an era, carried away with it. Voice 2 The appearance of events that we have not made, that others have made against us, now obliges us to be aware of the passage of time, its results, the transformation of our own desires into events. What differentiates the past from the present is precisely its out-of-reach objectivity; there is no more should-be; being is so consumed that it has ceased to exist. The details are already lost in the dust of time. Who was afraid of life, afraid of the night, afraid of being taken, afraid of being kept Voice 3 What should be abolished continues, and we continue to wear away with it. We are engulfed. We are separated. The years pass and we haven't changed anything. Voice 2 Once again morning in the same streets. Once again the fatigue of so many similarly passed nights. It is a walk that has lasted a long time. Voice 1 Really hard to drink more. Voice 2 Of course one might make a film of it. But even if such a film succeeds in being as fundamentally disconnected and unsatisfying as the reality it deals with, it will never be more than a re-creation ” poor and false like this botched traveling shot. Voice 3 There are now people who pride themselves on being authors of films, as others were authors of novels. They are even more backward than the novelists because they are unaware of the decomposition and exhaustion of individual expression in our time, ignorant of the end of the arts of passivity. They are praised for their sincerity since they dramatize, with more personal depth, the conventions of which their life consists. There is talk of the liberation of the cinema. But what does it matter to us if one more art is liberated through which Tom, Dick or Harry can joyously express their slavish sentiments The only interesting venture is the liberation of everyday life, not only in the perspectives of history but for us and right away. This entails the withering away of alienated forms of communication. The cinema, too, has to be destroyed. Voice 2 In the final analysis, stars are created by the need we have for them, and not by their talent or lack of talent or even by the film industry or advertising. Miserable need, dismal, anonymous life that would like to expand itself to the dimensions of cinema life. The imaginary life on the screen is the product of this real need. The star is the projection of this need. The images of the advertisements during the intermissions are more suited than any others for evoking an intermission of life. To really describe this era it would no doubt be necessary to show many other things. But what would be the point Better to grasp the totality of what has been done and what remains to be done than to add more ruins to the old world of the spectacle and of memories. 1. This film, which evokes the lettrist experiences at the origin of the situationist movement, opens with shots of the Paris district frequented by the lettrists in the early 1950s.
演員：張巨光 王楓 吳必克
導演：黃野
劇情：1950年代，全國性剿匪戰鬥正進行的如火如荼，盤距在雲霧山的殘匪吳濟天（李宗林 飾）部作著最後掙扎。田冬生（白英寬 飾）帶領剿匪戰士開進土匪駐地吳家寨，在稻草堆裡發現方大嫂，老貧農周慶福（張延 飾）也趕來向田冬生介紹吳濟天的密洞情況。焦五（田烈 飾）發現解放軍進寨，火速通知吳濟天，雙方發生激戰，撤退時田冬生被俘，被投入水牢，他夥同水牢被押同志將送飯匪徒打死，一併逃回駐地，連長（王楓 飾）批評了田冬生偵察中的輕率行為。團長（馬世達 飾）掌握吳濟天情況後，令全團進軍吳家寨，潰逃的敵人被迫分散行動。朝鮮戰爭的爆發令吳濟天心頭一喜，但接二連三的行動失敗也讓他踏上一條不歸路......
演員：馮喆 程之 牛犇
導演：葛鑫
劇情：1951年，大漠如煙。人民解放軍剿匪部隊與殘存的國民黨兵匪在沙漠中擺下別樣的戰場，顆顆子彈帶看仇恨射向面目猙獰的敵人。通過激烈的戰鬥，除了匪首金冶中（程之 飾）及兩個匪兵逃脫外其他敵人全部被殲滅，打掃完戰場，負傷的班長鍾永勝（馮喆 飾）帶著戰士李玉根（於明德 飾）和小姜（牛犇 飾）繼續沿著敵人馬蹄留下的痕跡追擊。天公不作美，陡然的狂風吹消了沙漠上一切痕跡，敵人朝哪個方向逃走了呢？諸葛亮會後，他們兵分三路追擊。小姜最先追上匪首並斃敵軍馬和一個匪兵，而自已也負傷，幸虧鍾永勝和李玉根及時趕到，繼續追擊未路之敵。他們在水站旁擊斃了另一名匪徒，金冶中又逃脫了。鍾永勝的傷勢由於得不到治疔，在乾旱的沙漠裡急劇惡化，不幸犧牲。李玉根和小姜淚目相望，發誓要給班長報仇......
演員：拉娜·特納 約翰·加文 桑德拉·狄 蘇珊·柯娜 羅伯特·阿爾達 丹·奧赫裡奇 胡安妮塔·摩爾 卡琳·迪克爾 Terry Burnham John Vivyan Lee Goodman 安·魯濱遜 特洛伊·多納胡 桑德拉·古爾德 David Tomack 喬爾·弗呂萊恩 傑克韋斯頓 比利·豪斯 Maida Severn Than Wyenn Mahalia Jackson 弗蘭克·貝克 George Barrows Paul Bradley Chet Brandenburg Teddy Buckner Ge
導演：道格拉斯·塞克
劇情：羅拉（拉娜·特納 Lana Turner 飾）和蘇西（桑德拉·狄 Sandra Dee 飾）是一對相依為命的母女。在工作中，羅拉是一位女強人，總是將她的大部分時間都投入到繁忙的職務中，生活裡自然而然少了很多對於女兒的關注，久而久之，母女之間的隔閡越來越深。這感情的裂痕在她們都愛上了同一個男人之後，最終導致了悲劇。 安妮（朱安妮塔·摩爾 Juanita Moore 飾）是一名黑人女子，而她的女兒莎拉（蘇珊·柯娜 Susan Kohner 飾）則是混血，莎拉一直以母親的膚色為恥，這不斷的傷害著安妮的感情。然而，母性的本能驅使著安妮一次又一次的原諒的莎拉，並且依然如故的愛著她。
演員：A. Alekseev 彼得·柳別什金 Oleg Mokshantsev
導演：亞歷山大·戈登 安德烈·塔可夫斯基
劇情：影片主要講了一支地區自衛隊挖到了許多枚導彈，這些導彈可能是二戰時候德國兵留下的，現在雖然藏在地下，仍有不小的隱患，如果30噸炸藥全部爆炸的話，足以摧毀整個城市。影片刻畫了士兵們在對待轉移導彈這項艱鉅的任務上各自複雜的心理活動，有的自告奮勇一馬當先敢於迎接挑戰，有的藉口推搪。影片既有對士兵在面臨危險大義凜然的頌揚，也有對情人之間彼此信任關切的微妙刻畫。雖然短短的四十多分鐘不足於對這些東西展開詳細地描繪，但已經展現出老塔把握鏡頭語言和節奏的能力，總能讓人感覺到一股緊張的氣氛籠罩全局，並且懸念環生扣人心絃。
演員：恩和森 張巨光 潘瑩 劉世龍
導演：朱文順 珠蘭琪琪柯
劇情：抗日戰爭時期，內蒙古草原上的青年獵手胡合（恩和森 飾）、加米揚和張玉喜（張巨光 飾）因打擊日寇被蒙奸官布逮捕。張玉喜在越獄時被打傷，他臨死前要胡合去加入游擊隊，並將女兒小玲託付給他。胡合將小玲交給母親，忍痛辭別懷孕的妻子秀芝，上了大青山。秀芝也被迫離開草原，與丈夫失去聯繫。十多年後，草原解放，胡合回到家鄉擔任區委書記。小玲在胡合的母親死後由拉西寧布（朝魯 飾）撫養成人，並改名娜布其（柏瑞桐 飾）。地質勘探隊來到大青山，娜布其和胡合的義子關其卡積極要求參加勘探工作。官布的兒子、壞分子道爾吉（喬鹿 飾）挑撥拉西寧布反對開採白雲鄂博。胡合和加米揚對他進行耐心的勸說，但拉西寧布不肯接受。秀芝的兒子當了胡合的司機，父子相見卻不相識。
演員：加里·格蘭特 愛娃·瑪麗·森特 詹姆斯·梅森 潔茜·羅伊絲·蘭迪斯 里奧.G.卡羅爾 約瑟芬·哈欽森 菲利普·奧伯 馬丁·蘭道 亞當·威廉姆斯 愛德華·普拉特 羅伯特·艾倫斯坦 萊斯·崔梅恩 菲利普·柯立芝 帕特里克·麥克維 愛德華·賓斯 肯·林奇 馬爾科姆·阿特伯裡
導演：阿爾弗雷德·希區柯克
劇情：羅傑（加里·格蘭特 Cary Grant 飾）是個平凡的廣告商人，最近卻莫名其妙的惹了一身的麻煩——他被別人錯認成一名叫“凱普林”的人，還被人灌醉放進車中，意圖造成車毀人亡，命大的羅傑卻順利逃過這一劫。這個離奇的經歷讓羅傑又後怕又好奇，為了證明自己的清白，他非要找出真正的 “凱普林”不可。 噩運在糾纏羅傑。他一路設法擺脫追殺，一邊千里追蹤凱普林的線索。他跳上了一趟開往芝加哥的列車，車上巧遇嬌娃坎多（愛娃·瑪麗·森特 Eva Marie Saint 飾），願意助他一臂之力。眼看就快可以約見凱普林，事情卻又起了波瀾——他不但沒有見到凱普林，還隨之陷入了又一場危機當中。真相越來越撲朔迷離，拉什莫山的總統雕像，也成了一場生死搏鬥的大舞臺。
演員：丁尼 胡曉光 李長華
導演：王冰
劇情：繼三大戰役後，我華東野戰軍奉中央之命戰略包圍上海。滬杭警備司令湯雲甫（王斑 飾）率30萬國民黨軍隊負隅頑抗，準備與我軍決戰。我軍根據中央指示，本著既要解放上海，又要保全城市的作戰方針，將敵主力引誘至城市外圍加以殲滅。方軍長（丁尼 飾）和張政委（高巖 飾）為部隊進城做了周密佈署，我軍在上海地下黨負責人林凡（胡曉光 飾）配合下，攻進市區，佔領了蘇州河以南的廣大地區。國民黨軍隊撤守到蘇州河北岸繼續抵抗，殘存的國民黨雜牌軍劉義（劉季雲 飾）部，龜縮在市中心，無望地等待失敗的來臨。我先頭部隊則在市區與殘存的敵人展開巷戰，攻佔了發電廠、市政府等重要部位，在強大的軍事攻勢和政治攻勢下，無望的敵人終於舉起了白旗......
演員：李亞林 梁音 金迪 楊洸 劉增慶
導演：蘇里
劇情：高佔武（李亞林 飾）和曹茂林（梁音 飾）不忍看見家鄉飽受缺水之苦，提議劈山引水，消息一經傳開，就遭到了個性保守的老社長的反對，思想開放的鄉黨委趙書記明白這是義舉，決定使出全力支持。在工作中，曹茂林遇見了回鄉女青年孔淑貞（金迪 飾），墜入了情網，他請能言善辯的高佔武替自己想孔淑貞表白，沒想到遭到了後者無情的拒絕。實際上，高佔武也默默的愛慕著孔淑貞，只是他選擇將這份感情深深的埋藏在心底。 一場意外中，孔淑貞身陷險境，所幸得到了高佔武的幫助才撿回了一條命，就此之後，高佔武在孔淑貞的眼中變得不一般起來。雖然開山行動中遭遇了諸多不順和意外，但最終，汩汩的山泉還是滋潤了村莊裡乾涸的土地。
演員：約翰·韋恩 迪恩·馬丁 瑞奇·尼爾森 安吉·迪金森
導演：霍華德·霍克斯
劇情：德克薩斯的一個鎮上，警長John T Chance（約翰·韋恩 John Wayne飾）和副警長酒鬼Dude（迪恩·馬丁 Dean Martin飾）將作惡多端的Joe Burdette繩之以法，並將其關在監獄裡，和另一個警員瘸腿的Stumpy （沃爾特·布倫南 Walter Brennan 飾）一起看守，等待幾天後審訊官的到來。此時，Chance的老友Pat Wheeler正好路經此地，並介紹Chance認識了一個叫Colorado Ryan（瑞奇·尼爾森 Ricky Nelson 飾）的男孩。而Chance也在一個酒店裡認識了一個叫Feather（安吉·迪金森 Angie Dickinson 飾）的女人。Joe的哥哥Nathan帶著人要來劫獄，先是派人殺死了Pat，又多次想要以Dude來威脅Chance放人。Chance等人與其鬥智鬥勇，在這個過程中，Chance發現了Colorado的勇敢並將其招入警隊；而酒鬼Dude又要如何與自己的酗酒對抗，以爭回自己的尊嚴，Chance能否帶著一個酒鬼、一個瘸子和一個男孩來戰勝Nathan的一次次進逼？
演員：若杉嘉津子 天知茂 北沢典子 江見俊太郎 池內淳子 大友純 稻垣三郎 芝田新 花岡菊子
導演：中川信夫
劇情：浪人民谷伊右衛門（天知茂 飾）貪汙鉅額公款，被丈人四谷左門（淺野進治郎 飾）得知，四谷不滿其卑鄙品行，嚴命女兒阿巖（若杉嘉津子 飾）與之離婚。丈婿話不投機，刀劍相向，伊右終將四谷殘忍殺害。這之後，他與好友直助（江見俊太郎 飾）串通，謊稱丈人為仇家殺害，帶著阿巖、阿巖的妹妹阿袖（北澤典子 飾）以及阿袖的未婚夫與茂七（中村龍三郎 飾）逃往江戶。途中，二人又密謀將與茂七推下懸崖。 暫時安定下來的伊右漸漸不滿貧窮的生活和妻子的拖累，偶然機會他從流氓手中救出富商的孫女阿梅（池內淳子 飾），富商欣賞其英武，欲將其招為孫婿。得知此訊的直助再次前來，和伊右密謀殺害礙手礙腳的阿巖……
演員：哈里·貝拉方特 英格兒·斯蒂文斯 梅爾·費勒
導演：拉納爾德·麥克杜格爾
劇情：Ralph Burton is a miner who is trapped for several days as a result of a cave-in. When he finally manages to dig himself out, he realizes that all of mankind seems to have been destroyed in a nuclear holocaust. He travels to New York City only to find it deserted. Making a life for himself there, he is flabbergasted to eventually find Sarah Crandall, who also managed to survive. Together, they form a close friendship until the arrival of Benson Thacker who has managed to pilot his small boat into the city's harbor. At this point the tensions rise between the three, particularly between Thacker, who is white and Burton, who is black.
演員：弗拉迪米爾·伊瓦紹夫 然娜·普羅霍連科 安東寧娜·馬克西莫娃 尼古拉·克留奇科夫 葉甫蓋尼·烏爾班斯基 艾爾莎·拉茲金 亞歷山大·庫茲涅佐夫 耶維熱尼·泰特林 瓦倫蒂娜·馬克瓦 瑪麗娜·克雷尼爾娃 弗拉基米爾·伯克洛夫斯基 格奧爾吉·尤瑪托夫 根納季·尤赫金 瓦倫蒂娜·特萊吉納 列夫·鮑裡索夫 列昂尼德·丘巴羅夫 弗拉基米爾·卡什普爾 謝苗·斯瓦申科 尼娜·緬希科娃 瓦連京·佈雷列耶夫 葉甫根尼·耶夫斯基格涅耶夫 尤里·杜布羅溫
導演：格利高利·丘赫萊依
劇情：二戰期間，19歲的通訊兵阿廖沙（弗拉迪米爾·伊瓦紹夫 Vladimir Ivashov飾）在衛國戰爭中用反坦克槍擊毀了德軍的兩輛坦克而受到嘉獎。但阿廖沙請求將軍不必為他授獎，只希望給他幾天假回家探望一次母親（安東尼娜·馬克西莫娃 Antonina Maksimova飾）。於是阿廖沙踏上了為期只有六天的歸家旅程。途中，阿廖沙邂逅了天真無邪的少女舒拉（讓娜·普羅霍蓮柯 Zhanna Prokhorenko飾），兩人一見鍾情。然而他們乘坐的火車被炸，他救死扶傷耽擱了不少時間。當阿廖沙終於回到家鄉時，只來得及和母親在田邊說幾句話就要返回前線。可這一去，阿廖沙就再沒有回來。 由著名導演格利高利·丘赫萊依執導的蘇聯現實主義電影傑作《士兵之歌》，榮獲1962年第34屆奧斯卡金像獎最佳原創劇本提名，入圍1960年第13屆戛納電影節金棕櫚獎，並獲得1962年第15屆英國電影和電視藝術學院獎電影獎-最佳影片等多項大獎。
演員：彼得·庫欣 Peter Cushing 安德魯·莫瑞爾 André Morell 克里斯托弗·李 Christopher Lee
導演：泰倫斯·費希
劇情：本片改編自英國作家阿瑟·柯南道爾的同名小說。講述了巴斯克維爾莊園流傳著一個古老的傳說，莊園的主人總是意外死於非命。福爾摩斯派華生前去調查，遇見了許多謎團，隨著調查的深入，幕後兇手也在漸漸逼近……
演員：楊麗坤 莫梓江 孫靜貞 譚堯中 王蘇婭 朱一錦
導演：王家乙
劇情：舊曆三月雲南大理，人民公社的副社長金花（楊麗坤）帶領著姐妹們驅車去趕一年一次的“三月街”傳統盛會，半路車壞，眾人手足無措之時，遇到前來參加賽馬會的劍川鐵匠阿鵬（莫梓江），阿鵬將車修好，沒等金花致謝就翻身上馬衝進賽場勇奪冠軍。賽後金花找機會與阿鵬接近，兩人交談中生出感情，相約來年山茶花盛開時再在蝴蝶泉邊相見。 第二年阿鵬如約前來，左等右等不見金花身影，不知如何是好之時，他結識兩位來自長春電影製片廠的音樂家與畫家朋友，對方聽完他的經歷，立誓幫他找到金花。找尋中，積肥模範金花（孫靜貞）、畜牧場金花（譚堯中）、鍊鋼廠金花（王蘇婭）和拖拉機手金花（朱一錦）先後被阿鵬錯當作他的真命天女，笑話鬧了不少。
演員：瑪麗蓮·夢露 傑克·萊蒙 託尼·柯蒂斯 喬治·拉夫特 喬·E·布朗 帕特·奧布萊恩
導演：比利·懷爾德
劇情：1930年代，動盪的芝加哥時常被強盜集團騷擾。喬（託尼•柯蒂斯）和傑利（傑克•萊蒙）本是樂團成員，兩人因偶然目睹盜匪史巴克的手下在車庫內射殺告密者而被窮追不捨。走投無路之下，他們男扮女裝加入一女性樂團，並隨該團來到邁阿密。 該團中有位名叫秀珈（瑪麗蓮•夢露）的異常美麗性感女郎，喬曉得她一心想釣有錢人時，便化身石油王的公子企圖得到她的芳心；另一面，傑利也對秀珈情有獨鍾，可是他卻得到一位不知他是男兒身的富翁的不斷糾纏，笑話迭生。不久，喬和傑利又遇史巴克一夥，只得再次逃亡，場面更加逗笑。