内详
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Shardul Thakur是德拉胡恩警察局的一名警官，他被家人要求结婚，但他并不热衷于此。 Sumi (Suman)在学校是一名体育老师，她也有来自家庭的婚姻压力。 但是Sumi也并不热衷因为她喜欢女人，她在一个约会应用上注册，并遇到了一个女性，在见面时，她发现这个人其实是一个用假身份证的男性。 他试图勒索Sumi，告诉她，如果她不与她度过夜晚，他将向她的家人揭露她的真相，最后她接受了Shardul的帮助。 Shardul帮助Sumi，但开始经常跟着她，他知道她对同性的爱，他也爱男人。 Shardul说服了Sumi，他们应该为了他们的家庭而结婚，过他们自己的生活。 Shardul和Sumi结婚，Shardul花时间和他的男朋友Kabir在一起，而Sumi爱上了Rimjhim。 但当他们的家庭强迫他们生孩子时，问题就出现了。
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Del Tenney
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While the hot rodders and motorcyclists are having a rock-and-roll beach party, a barrel of radioactive material is unloaded from a passing ship, plunges to the bottom and splits against a jagged rock. A black liquid oozes out and covers a shapeless mass on the ocean floor, which suddenly moves and becomes an encrusted vicious monster. Soon there are several monsters and they must have human blood to survive. Tina is the first victim, and football hero Hank Green and airhead Elaine Gavin enlist the aid of her science-professor father, Dr. Gavin, to solve and capture the killer. Not working fast enough to prevent the attack on twenty teen-agers at a slumber party nor the killing of three girl motorists, Dr. Gavin finds an arm lost by one of the monsters and discovers that only sodium will destroy the monsters whose composition is mostly water. Can they gather enough salt in southern California to put an end to this horror?
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Spike Brandt,Tony Cervone
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在一座位于城市中央的大剧院内，每个华灯初上的夜晚，剧院内便会响起《胡桃夹子》的旋律，美丽的芭蕾舞演员随着音乐翩翩起舞，曼妙多姿，倾倒众生。在剧院的最远端，小老鼠杰瑞和塔菲（Chantal Strand 配音）每日里准时观看《胡桃夹子》表演，他们欢呼喝彩，乐在其中。可是没有演出的日子如此难熬，杰瑞他们无比落寞。许是上苍知晓了他的心愿，剧院内所有的玩具突然有了生命，杰瑞和塔菲也进入了充满幻想和优美旋律的梦幻国度。剧院外面，白雪皑皑的街头巷尾，野猫之王和他的手下们正自得其乐。杰瑞和玩具们的美食盛筵引来野猫们贪婪的目光。包括汤姆在内的这群暴徒闯了进来，不仅破坏了晚宴，还抓走玩具芭蕾舞小姐。 杰瑞与塔菲由此展开了一段奇幻大冒险……
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嘉里·瑞德斯托姆
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夜深人静，万籁俱寂。在美国西部的农场中央，孤零零伫立着一所房子。房子的男主人正沉浸在甜甜的梦乡之中，殊不知危险渐渐逼近。一道极强的亮光从窗口照了进来，男人随着亮光开始上下起伏。原来一家飞碟正停在上空，准备对其进行绑架。不过，绑架的实施者是一个初出茅庐的外星人，这次绑架对他来说只是一次资格考试，身旁有一个面无表情且十分严厉的考官评分记录。面对2000个密密麻麻的按钮，这个学艺不精的小外星人手忙脚乱…… 本片为皮克斯工作室第13部短片，是动画长片《料理鼠王》的加映短片。并获得2007年第79届奥斯卡最佳动画短片的提名。
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汉斯·李希特
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穷困潦倒的乔（Jack Bittner 饰）在狭小的居室内得到神秘启示，为了生计，他开始经营出售梦境的生意。人们拥至他的门前，一位银行职员梦到被夜莺纠缠的女人；一位执着于签单的姑娘看到了一场流水线上模型人的爱情；职员妻子幻觉同一位绅士对话，主持放映了一场无声电影；强行闯入的罪犯眼前不断浮现旋转的圆，那似乎象征着欲望；女孩和盲老人给乔送来了古怪的铁丝玩具。乔送走所有客人，自己随即也陷入了一场梦境，他从一场诡异的牌局脱身出去，发现自己面临更玄妙的遭遇。 本片由汉斯·里希特在杜尚、卡尔德、麦克斯·爱恩斯特等几位艺术家的合作下完成，获得1947年威尼斯电影节特别奖。
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D.W. Griffith
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After the relatively low box office takings of 'Intolerance', D. W. Griffith would revisit his epic film three years later by releasing two of the film's interlocking stories as standalone features, with some new additional footage. The first of the two was 'The Fall of Babylon', which depicts the conflict between Prince Belshazzar of Babylon and Cyrus the Great of Persia.
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居伊·德波
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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.
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Leon Shamroy,Charles Klein
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An insane man first loves then grows to hate his neighbor, an old man whose penetrating gaze unnerves the insane man. He plans a perfect crime and executes it one night. The next day, two officers knock on the insane man's door, investigating a shriek heard in the night. The insane man invites them in, answers their questions, and submits to an examination of his eyes by one of the officers, who proclaims him innocent. The insane man invites them to stay and relax awhile, then regales them with his theories of crime. His heart begins to beat louder. Angles on the set are skewed to suggest the man's internal disarray.
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达尼埃尔·于伊耶,让-马里·斯特劳布
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Based on an unknown Schönberg opera from 1929, From Today Until Tomorrow explores one night in a not-quite loveless marriage. A husband and wife return from a party where she has flirted with another man, while he has cast an appraising eye toward an attractive, fashionably dressed acquaintance of his wife’s. Though each dreams, briefly, of leaving the marriage for the excitement and mystery of a new lover, in the end they decide stability and comfort are more important than the fleeting thrill of new romance. Directors Jean-Marie Straub and Danièle Huillet, who previously collaborated on two other films about music (The Chronicle of Anna Magdalena Bach, 1968, and Moses and Aaron, 1975), rely on long fixed shots in austere black-and-white so that the focus remains on the musical brilliance of Schönberg’s atonal score, performed here by 70 musicians. That Schönberg would choose such a relatively lighthearted message for his newly discovered musical language remains a mystery, especially since the conclusion reached by the husband and wife—to stick with the tried and true—seems directly at odds with Schönberg’s own philosophy of composing. It is just this juxtaposition, however, coupled with Straub and Huillet’s faithful presentation, that makes the opera a compelling addition to the Schönberg canon—and the film such a challenging and intriguing experience.