避难所

新闻记者隐居在别墅里，一个学者指控他出卖了良心，两人之间爆发了激烈的冲突

接班人

　　苏格兰黑帮领袖保罗·菲尔斯（Paul Ferris）的生平故事。

没有人喜欢黑夜

故事发生在1908年的格陵兰岛，约瑟芬（朱丽叶·比诺什JulietteBinoche饰）的丈夫是一位非常杰出的探险家，在一次前往北极的探险行动中失踪了。坚强而又骁勇的约瑟芬坚信自己的丈夫没有死亡，于是决定独自前往追寻丈夫踪迹的旅途。所有的探险家们都对约瑟芬这一大胆的决定持反对的态度，因为她并不具备探险家所应有的专业知识，也没有接受过系统的体能训练，这样一个人置身于茫茫的北极冰川之中，留给她的只有死路一条。然而约瑟芬还是固执的上路了，在经历了无数艰难险阻之后，她竟然奇迹般的抵达了丈夫在北极设置的大本营，在那里，约瑟芬邂逅了一位名为阿尔卡（菊地凛子饰）的异域女子。

塞加拉陵墓揭秘

该纪录片将为观众呈现埃及考古学家在挖掘出一个未曾接触过4,400年的坟墓之后，试图破译这一惊人发现的历史。

花滑女王国语

佳娜（阿格莱亚·塔拉索娃AglayaTarasova饰）出生在一个非常贫困的家庭之中，在母亲的鼓励和栽培下，佳娜成为了一名花样滑冰运动员，虽然佳娜的身体条件并不是非常适合这项运动，但凭借着自己的努力，佳娜最终成功的站在了世界顶级花滑男选手里奥纳夫（米洛斯·比柯维奇MilosBikovic饰）的身边，成为了他的搭档。两人通过默契十足的合作夺得了许多耀眼的成绩，彼此之间也碰撞出了爱情的火花。花滑世界杯即将开始之前，佳娜不幸受伤，无奈只能告别赛场，里奥纳夫也因此离开了她。就在佳娜万念俱灰的时候，冰球运动员萨沙（亚历山大·佩特洛夫AlexanderPetrov饰）成为了她坚强的后盾。

红色行动队-围

本片描述了为护送中央上海局特科的特使吴匀强和烈士后代冯小毕由敌控区进入江西苏区执行秘密任务地故事，红军特别行动队派出的一支护送小分队在被敌人一个师的兵力团团围住的情况下，乘着夜色，克服重重困难冒险进入鲁氏大屋，而鲁氏大屋正是行动队长雷下从小长大的地方，雷下的母亲被鲁氏族长害死，鲁氏族长怀孕的儿媳碧桐正是雷下当年的初恋情人，包围鲁氏大屋的国民党团长又是鲁家的大少爷、碧桐的丈夫鲁大元……行动队员在大屋内外与敌人和叛徒展开一场殊死斗争，最终凭借着机智和勇敢取得了胜利，顺利到达苏区完成任务……

盲目的丈夫们

Two differences between this Austrian version and the generally available American version are immediately obvious they differ both in their length and in the language of the intertitles. The American version is only 1,883 metres long - at 18 frames per second a difference of some 7 minutes to the Austrian version with 2,045 metres. Whereas we originally presumed only a negligible difference, resulting from the varying length of the intertitles, a direct comparison has nevertheless shown that the Austrian version differs from the American version both in the montage and in the duration of individual scenes. Yet how could it happen that the later regional distribution of a canonical US silent film was longer than the original version　　The prevalent American version of Blind Husbands does not correspond to the version shown at the premiere of 1919. This little-known fact was already published by Richard Koszarski in 1983. The film was re-released by Universal Pictures in 1924, in a version that was 1,365 feet (416 metres) shorter. At 18 frames per second, this amounts to a time difference of 20 minutes! Titles were altered, snippets of action removed and at least one major scene taken out entirely, where von Steuben and Margaret visit a small local chapel. (Koszarski)　　From the present state of research we can assume that all the known American copies of the film derive from this shortened re-release version, a copy of which Universal donated to the Museum of Modern Art in 1941. According to Koszarski the original negative of the film was destroyed sometime between 1956 and 1961 and has therefore been irretrievably lost. This information casts an interesting light on the Austrian version, which can be dated to the period between the summer of 1921 and the winter of 1922. Furthermore, the copy is some 200 metres longer than the US version of 1924. If one follows the details given by Richard Koszarski and Arthur Lennig, this means that, as far as both its date and its length are concerned, the Austrian version lies almost exactly in the middle between the (lost) version shown at the premiere and the re-released one.A large part of the additional length of the film can be traced to cuts that were made to the 1924 version in almost every shot. Koszarski describes how the beginning and the end of scenes were trimmed, in order to speed up the film. However, more exciting was the discovery that the Austrian version contains shots that are missing in the American one - shotscountershots, intertitles - and furthermore shows differences in its montage (i.e. the placing of the individual shots within a sequence). All this indicates that Die Rache der Berge constitutes the oldest and most completely preserved material of the film.

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