在风雪交加的寒冷高地大兴安岭，一群俄国探险科考队员在队长亚森尼耶夫（虞瑞•索罗民Yuri Solomin 饰）的带领下进驻这里，寻找附近的资源矿藏。这些远离家乡的队员，每到夜晚的时候，都会唱起思乡的歌曲表达各自的离愁别绪。正在此时，他们聆听到一阵悠扬的旋律，后来才发现有个当地的蒙古老猎手德尔苏•乌扎（马克西姆•门祖克 Maksim Munzuk 饰）拉常年驻扎此地。为了能够在陌生的地方不被野兽吞噬不走弯路，队长决定雇佣德尔苏•乌扎拉为向导，指引军队前行，后者欣然应允，并且帮助他们躲过了老虎的血盆大口，穿越了活埋死人的沙丘，在与自然的对抗与相处中，德尔苏•乌扎拉和科考队员慢慢地建立了跨文化的深厚情谊，他们对自然的认识也逐渐加深…… 　　本片获第48届奥斯卡最佳外语片。

"Paracelsus," which was shown at the First Avenue Screening Room last Sunday and will be repeated there at noon and midnight today and tomorrow, is a very special footnote to film and political history. Never before released in New York, it is the second film made by the great, supposedly left-wing German director, G. W. Pabst, after he returned to Nazi Germany just in time for World War II. 　　Pabst, who died at the age of 82 in 1967, is a fascinating character, known as "the red Pabst" (Papst means pope in German) until he went back to Hitler's new German empire. His best films, including the silent "Joyless Street" with Greta Garbo and "The Threepenny Opera" (1931), are rather uproarious amalgams of stark realism, wild melodrama and pure poetry. Lots of elements in his films look dated today but also there is usually, something that looks totally new and surprising. 　　"Paracelsus," considering when it was made (1943) and under what conditions, is a remarkably interesting film, though full of not especially well disguised propaganda. It's the story of Paracelsus, the 16th-century Swiss healer whose reputation took on a new vogue in the Germany of the early nineteen-forties. Nazi writers and intellectuals began to attribute all sorts of Nazi ideals to the mystic healer who had been ridiculed and oppressed for choosing to write in German instead of Latin and who had challenged the authority of vested (feudal) interests. 　　With the exception of Werner Krauss, who plays Paracelsus as a sort of medieval Dr. Gillespie, crusty but kind, the acting is operatic. The screenplay is full of noble opinions about the German character and its ability to triumph over the ignorance of its enemies. 　　The physical production, however, is astonishingly handsome. In addition, the movie contains one of Pabst's most magical scenes, in which Death, in the person of a juggler, enters a town in the siege of plague and invites the citizens to join him in a celebratory dance. Realism moves into fantasy (and back again) with less awkwardness than most other directors display when making a simple cut between two scenes in the same style. 　　A further footnote to this footnote to history: after the war, Pabst went on to make other films, including "The Trial" (1949), about anti-Semitism in Hungary in 1882, but Werner Krauss was blacklisted, largely for his participation in the notorious "Jud Süss."

当著名作家维克托·阿德尔曼逝世时，一位记者联系上了他的妻子莎拉，希望能抢先报道这位伟大作家的一生。随着记忆的帘幕被缓缓拉开，维克托和莎拉这场近…

本片用传记体拍摄手法细致描述了上个世纪60、70年代德国兴起的恐怖组织——“红色军团”（也译红色支队，简称RAF）的兴衰历史。历史是讽刺的，在历史长河…

盖尔·加朵要有新电影了，这次她将化身为古巴前最高领导人菲德尔·卡斯特罗身边神秘的美国密友。 华纳兄弟影业宣布，获得彼得·科恩布尔在《Politico》上刊登的一篇文章《我亲爱的菲德尔》的影视改编权，该文章聚焦卡斯特罗身边一位神秘的美国友人——美国广播公司记者丽莎·霍华德。 在古巴导弹危机之后，霍华德成为华盛顿与哈瓦那之间保持秘密联络的中间人，她曾三次访问古巴，推荐了美国与古巴的关系，对冷战的进程起到了微妙的影响。 制片人Sue Kroll将于盖尔·加朵夫妇联合制作影片，没错，“神奇女侠”背后的男人亚隆·凡萨诺也将参与制片。 加朵表示：“当我第一次读到彼得的文章时，就对这个激动人心的故事着迷，女主角是一个复杂又迷人的女性，她的现实生活被高度危险包围。我马上意识到，我应该创造性的讲述丽莎·霍华德的故事，很高兴能和Sue制作这部影片。”

在《吉尔莫·德尔·托罗之珍奇柜》中，备受赞誉的奥斯卡金像获奖电影制作人、创剧人、监制兼联合剧集主管吉尔莫·德尔·托罗策划了一系列史无前例且具有…

法国乡间少年杀人事件，行凶动机耐人寻味。上世纪初，十七岁的般奴获地主资助，进入修道院刻苦学习，暑假回家期间却犯下凶残血案。跟遇害者似乎无仇无怨，是随机杀人还是另有内情？医科教授调查真相，狱中的般奴写下自白书，忆述成长煎熬，追溯杀人念头从何而来。云信勒波尔首部长片，改编真人真事，以扎实剧本引领观众窥探杀人少年内心世界，透过主角杜雷的丝丝入扣演绎，将尘封的历史档案，变成一趟令人不寒而栗又不禁着迷的旅程。

故事讲述两名好友第一次离开中西部的小镇去弗罗里达度假。在度假时，她们被卷入了一场坏人要杀死镇上每一个人的恐怖阴谋中。