主演：路易斯·乔丹 琼·克劳馥 霍普·兰格 史蒂芬·博伊德 苏齐·帕克 玛莎·海尔 黛安·贝克 布赖恩·艾亨 罗伯特·埃文斯 布雷特·哈尔西 唐纳德·哈伦
导演：让·尼古拉斯科
简介：卡洛琳·班德（Hope Lange）是一个刚毕业不久、在纽约打拼的女大学生，她进入费边出版公司担任秘书职位，并在那里认识了同样身为秘书的格雷格·亚当斯（Suzy Parker）和阿普里尔·莫里森（Diane Baker），格雷格和阿普里尔都很喜欢卡洛琳，于是邀请卡洛琳搬进她们的公寓，三个女孩就这样生活在了一起。卡洛琳的上司阿曼达·法罗（Joan Crawford）因为怀疑卡洛琳企图取代她的位置，所以一直百般刁难卡洛琳，然而卡洛琳自己却计划男友艾迪·哈里斯（Brett Halsey）一从欧洲回来便与其成婚，然后从公司辞职彻底投入家庭主妇的生活，但天不遂人愿的是艾迪在欧洲与其他女人成婚，伤心不已的卡洛琳只好全心投入工作之中，她和编辑迈克·莱斯（Stephen Boyd）的感情也因此变得越发复杂。阿普里尔是个天真单纯的女孩，刚一入公司就遭到了上司沙利马尔先生(Brian Aherne)的性骚扰，但却反而与其成为朋友，后来偶然间她认识了富二代德克斯特·基（Robert Evans）并与其交往，她幻想着与之成家立业却未料到自己所托非人。格雷格一直努力想要成为一个女演员，她偶然认识了导演戴维·塞维奇（Louis Jourdan）并与之谈起恋爱，有了塞维奇的帮助她以为自己已经可以全心追求演艺事业便放弃了秘书的工作，却未想到厄运已经就此埋下祸根。
主演：未知
导演：居伊·德波
简介：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.
主演：马歇尔·汤普森 Marla Landi Bill Edwards 罗伯特·艾尔斯
导演：罗伯特·戴
简介：立志当人类历史上第一位宇航员的丹•米尔顿•普雷斯科特（比尔•艾德华斯 Bill Edwards 饰）驾驶代号Y-12的宇宙飞船前往太空，在进入外太空的一刹那，他因为过于兴奋而忽略了总部的命令，最终导致飞船失控。飞船坠入大气层，与总部失去联系。不久，国防部的人找到飞船残骸，而惹出祸端的丹却在女友处潇洒快活。 丹的特立独行给国防部高层留下极深的印象，他们顶住各方压力，仍然决定派遣丹驾驶Y-13再次前往太空。当达到600’000尺的高度时，丹的老毛病再次复发。他不顾总部的命令，直线冲入外太空。结果飞船失控，受到宇宙粉尘袭击，最终爆炸。国防部找到飞船遗骸，却未见到丹的身影。随后不久，一个恐怖嗜血的生物开始在城市中出没……
主演：史蒂夫·柯臣 玛米·范多伦
导演：Charles F. Haas
简介：斯坦·赫斯（Ray Danton）平日伪装成垮掉派成员，实际却是个连环强奸犯，他对女人恨之入骨，通过强奸的方法来报复女性，每次作案后他都会留下一小盒阿司匹林，因此被称为阿司匹林小子。戴维·卡洛兰警司（Steve Cochran）负责调查阿司匹林小子一案，然而他也有厌女倾向，他认为很多强奸案的受害者并非是真正的受害者，而是主动勾引对方的荡妇，同时因为曾被第一任妻子出过轨，他总是对自己的现任妻子疑神疑鬼，动不动就像审讯犯人一样盘问她。令他出乎意料的是，他的妻子弗兰丝（Fay Spain）居然也成了阿司匹林小子的受害者，并且不幸怀了孕，他和妻子的关系因此而僵到极点，同时他下定决心要抓到阿司匹林小子。阿蒂·贾斯特（James Mitchum）是斯坦·赫斯的帮凶，斯坦为了创造出两个阿司匹林小子来迷惑警察，派贾斯特去强奸乔治亚·阿尔特拉（Mamie Van Doren），然而中途却横生枝节，同时也让警方找到了可以破案的线索。
主演：A. Alekseev 彼得·柳别什金 Oleg Mokshantsev
导演：亚历山大·戈登 安德烈·塔可夫斯基
简介：影片主要讲了一支地区自卫队挖到了许多枚导弹，这些导弹可能是二战时候德国兵留下的，现在虽然藏在地下，仍有不小的隐患，如果30吨炸药全部爆炸的话，足以摧毁整个城市。影片刻画了士兵们在对待转移导弹这项艰巨的任务上各自复杂的心理活动，有的自告奋勇一马当先敢于迎接挑战，有的借口推搪。影片既有对士兵在面临危险大义凛然的颂扬，也有对情人之间彼此信任关切的微妙刻画。虽然短短的四十多分钟不足于对这些东西展开详细地描绘，但已经展现出老塔把握镜头语言和节奏的能力，总能让人感觉到一股紧张的气氛笼罩全局，并且悬念环生扣人心弦。
主演：若杉嘉津子 天知茂 北沢典子 江见俊太郎 池内淳子 大友纯 稻垣三郎 芝田新 花冈菊子
导演：中川信夫
简介：浪人民谷伊右卫门（天知茂 饰）贪污巨额公款，被丈人四谷左门（浅野进治郎 饰）得知，四谷不满其卑鄙品行，严命女儿阿岩（若杉嘉津子 饰）与之离婚。丈婿话不投机，刀剑相向，伊右终将四谷残忍杀害。这之后，他与好友直助（江见俊太郎 饰）串通，谎称丈人为仇家杀害，带着阿岩、阿岩的妹妹阿袖（北泽典子 饰）以及阿袖的未婚夫与茂七（中村龙三郎 饰）逃往江户。途中，二人又密谋将与茂七推下悬崖。 暂时安定下来的伊右渐渐不满贫穷的生活和妻子的拖累，偶然机会他从流氓手中救出富商的孙女阿梅（池内淳子 饰），富商欣赏其英武，欲将其招为孙婿。得知此讯的直助再次前来，和伊右密谋杀害碍手碍脚的阿岩……
主演：白英宽 刘增庆 张延 李宗林
导演：黄野
简介：1950年代，全国性剿匪战斗正进行的如火如荼，盘距在云雾山的残匪吴济天（李宗林 饰）部作着最后挣扎。田冬生（白英宽 饰）带领剿匪战士开进土匪驻地吴家寨，在稻草堆里发现方大嫂，老贫农周庆福（张延 饰）也赶来向田冬生介绍吴济天的密洞情况。焦五（田烈 饰）发现解放军进寨，火速通知吴济天，双方发生激战，撤退时田冬生被俘，被投入水牢，他伙同水牢被押同志将送饭匪徒打死，一并逃回驻地，连长（王枫 饰）批评了田冬生侦察中的轻率行为。团长（马世达 饰）掌握吴济天情况后，令全团进军吴家寨，溃逃的敌人被迫分散行动。朝鲜战争的爆发令吴济天心头一喜，但接二连三的行动失败也让他踏上一条不归路......
主演：哈里·贝拉方特 英格儿·斯蒂文斯 梅尔·费勒
导演：拉纳尔德·麦克杜格尔
简介：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.
主演：文森特·普莱斯 朱迪思·伊夫林 菲利普·柯立芝 达里尔·希克曼 帕梅拉·林肯
导演：威廉·卡斯尔
简介：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.
主演：池部良 安西乡子 千田是也 高田稔 伊藤久哉 土屋嘉男 桐野洋雄 野村浩三 村上冬树 泽村伊纪雄 熊谷卓三 手塚胜巳 堤康久
导演：本多猪四郎
简介：超低温下で重力がなくなる“冷却線“を使って、宇宙人・ナタールが地球侵略を開始した。地球の各地では、鉄橋が光りながら空中へ浮き上がったり、汽船が山に激突したり、海が凍って空に逆流したりと奇怪な事件が次々に起こる。科学者たちのグループは冷却線の攻撃に対抗すべく、熱線砲を開発、彼らの基地があると思われる月へと向かうが……。熱線砲を抱えて月へ出発するスピップ号、途中出くわす宇宙ステーション、そしてナタールの円盤群など、宇宙空間を舞台に特技監督・円谷英二の腕が全編に冴えわたったSF映画。1959年の製作とは思えない凝ったディテールと凄まじいアクションが魅力。
主演：帕特·布恩 詹姆斯·梅森 阿琳·达尔 黛安·贝克 塞耶·戴维
导演：亨利·莱文
简介：喜爱探险，对神秘宝藏充满了憧憬的李登布罗克教授（詹姆斯·梅森 James Mason 饰）在无意之中发现了一张历史悠久的羊皮纸，羊皮纸上记载了一位名叫阿尔纳的男子曾经前往地心探险的路线图。欣喜若狂的李登布罗克教授当即决定重走趟充满了危险和未知的地心之旅。 尽管遭到了朋友 们的强烈反对，李登布罗克教授还是带着侄子毅然决然地出发了。两人的旅途始于苏格兰爱丁堡，之后，来自冰岛的汉斯（Peter Ronson 饰）成为了他们可靠的向导。三人来到了斯奈菲尔火山口，从此进入地表之下，在长达三个月的旅程中经历了种种光怪陆离的现象，遇见了无数千奇百怪的动植物，甚至邂逅了神秘的种族。
主演：Robert Taylor Nicole Maurey
导演：理查德·索普
简介：美国人约翰-诺德利John Nordley是阿罗哈号The Aloha的船长，这是一艘停泊在英国贝茅斯港的帆船，他在这艘船上生活并进行私人包租。他经常违反英国法律，把船开到他的清单上没有列出的其他国家。有一天，客户安塞姆先生Mr. Anselm找上门，要求在不列颠群岛的东边航行一周，但他一上船就要求航行到荷兰的Maasvlakte，并向诺德利保证不会有任何非法行为。但这个请求直接把他自己和诺德利带入深渊，以至于引来几路人马要获得诺德利与安塞姆的秘密，大家都在刻意接近诺德利，他必须决定谁可以信任，谁不能信任。
主演：罗伯特·兰辛 李·麦瑞威瑟 James Congdon
导演：小艾尔文·S·伊沃斯
简介：一位科学家在一次试验中，发现用脑波可以使一只铅笔穿透铜板，不过，他的实验室在一次大火中毁灭，这位科学家不得不投靠他的哥哥。他的哥哥也在进行着另一项实验，他发现重新组合原子结构可以产生巨大能量。他与弟弟合作，利用弟弟的脑波和实验心得，改变任何物质结构，形成“四度空间人”。 不过，“四度空间人”使用一次均会失去时间而老化，必须不断增加能源，而每次吸取能量，就会将老化转移他人，于是他不断杀人以维持青春。究竟四度空间人会不会最终被消灭，请观众自己品味。 本片构思新颖，运用高科技手段拍摄，是观众有身临高科技时代的感觉，当然，这指的是身在影片所属的年代！
主演：林黛 赵雷 胡金铨 杨志卿
导演：李翰祥
简介：年轻的正德皇帝，在御书房听太傅梁储讲学，窗外传来宫女妙曼歌声，词意称颂江南景色美丽，人物俊秀，不禁悠然神往。适值殿前侍卫将军周勇乞假返回江南故乡，正德心生一计，命周勇护驾陪行，微服私游江南。 君臣策马同行，游览江南景色。正德向来寂处深宫，难得逍遥自在，心怀为之大快。一天来到梅龙镇，镇上正在举行酬神盛会，人山人海，鼓乐喧天。正德与周勇挤在人丛中观看，游行景艺巧妙新奇，目不暇给。突然朵朵鲜花从天而降，正德伸手抢接，惹得扮演「天女散花」的少女嫣然一笑。正德神摇魄荡，一缕深情系在少女身上。 回到客店，少女的笑容深印在正德脑中，辗转反侧，无法入寐。翌晨起来，独自漫步。丛林中酒旗高挑，正德信步入内，却和昨天所见少女相遇。原来她是酒家店主李龙的妹妹李凤，不禁喜出望外。酒保大牛上前拦阻，声言今天店主有事外出，暂停沽酒。李凤见正德年少俊雅，芳心窥慕，借故遣开大牛，殷勤...
主演：加里·格兰特 托尼·柯蒂斯 琼·欧布伦 迪娜·梅瑞尔 吉恩·埃文斯 DickSargent 维吉尼亚·格雷格 罗伯特·F·西蒙 罗伯特·吉斯特 加文·麦克劳德 乔治·邓恩 迪克·克罗基特 马德琳·鲁 马里昂·罗斯 ClarenceLung 弗兰基·达罗 罗伯特·F.霍伊 NickyBlair JohnW.Morley 阿瑟·奥康纳 哈尔·贝勒 威廉·布莱特 DickCallinan MalcolmCassell 戴尔·卡明斯 弗朗西斯·德塞尔斯 VinceDeadrickSr. Alan
导演：布莱克·爱德华兹
简介：美国海军海之虎号潜艇即将退役，海军少将雪曼早早地来到潜艇上，翻看航海日志。看着自己当年的记录，昔日情景仍历历在目。将军思绪万千，浮想联翩……. 太平洋战争初期，美国海军在东南亚步步退守。海之虎号潜艇在港口几乎被日军飞机炸沉，雪曼艇长（卡里·格兰特饰）的任务是在两周之内完成平时需要两个月才能做完的事——把完全失去航行和战斗能力的海之虎号修好并撤退，但时局艰难，海之虎号连最起码的补给都很难弄到。海军上尉霍顿前来报到，此人无论穿着打扮或言谈举止，都象个十足的纨绔子弟，而且有关潜艇专业的知识他一概不懂，雪曼艇长觉得自己又多了一重麻烦。 霍顿上尉主动请缨之下，当上了海之虎号的军需官。谁知这正是最能发挥他长才的职位。他妥为运筹，使海之虎号的军需补给呈现一派欣欣向荣的景象，很快就拔锚起航了，而基地指挥官则忙着追查搬空基地仓库及他本人办公室的窃贼。 霍顿...
主演：若尾文子 川口浩 船越英二 宫口精二 东山千荣子 Atsuko Kindaichi Yoshirô Kitahara 小林胜彦 泷花久子 丹阿弥谷津子
导演：增村保造
简介：富丽堂皇的大酒店，正在进行一场盛大的婚礼。三原商事的次子二郎（北原義郎 饰）迎娶野野宫家的二女儿梨子（近藤美恵子 饰）。早在三年前，两家已有过一次联姻。当年三原一郎（船越英二 饰）爱慕在本公司担任秘书的野野宫桃子（丹阿弥谷津子 饰），二人最终结为夫妇。如今两家再次联姻，无疑谱写了一段佳话。适值此时，三原家的小儿子三郎（川口浩 饰）正在另一家公司独自打拼，哥哥们有意召回弟弟，强势的桃子也希望彰显自己的实力，她因此极力撮合妹妹杏子（若尾文子 饰）和三郎走到一起。得知兄长和姐姐的心意，三郎和杏子结成同盟，发誓永不结婚…… 本片根据源氏鶏太的同名小说改编。
主演：维托里奥·德西卡 汉斯·海西默 维托里奥·卡布里奥利 南多·安卓利尼
导演：罗伯托·罗西里尼
简介：二战时期，退伍意大利军人格里.马尔蒂自称将军，到处招摇撞骗，不料被德国一军官捕获，揭露其身份。格里为保其性命，和德国方面串通假扮已故罗维雷将军潜入集中营搜索情报。其间亲眼目睹及亲身经历了德国人的酷刑拷打，在最终时刻他觉悟，自愿同9名囚犯一并枪决，临终口中呐喊“意大利万岁”。 本片主演维托里奥·德·西卡生于意大利，是二次世界大战后意大利新写实主义复兴中重要导演，而且是一位极具才干与魅力的演员。他的《偷自行车的人》(1948)是对战后意大利劳工阶级生活的深入研究，体现出一种自然风格。他在当时所具有的意义，从历史的观点来说是相当重要的。他早年致力于演戏，一九二三年首次在舞台上作职业性演出，二十年代时是一位相当受欢迎的舞台偶像与歌星。三十年代后，他又兼做导演。1942年导演的《孩子们在看》一片在他的导演生涯中有着重大的意义，被称为意大利新写实电影的先驱作品，...
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