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簡(jiǎn)介：路易莎，20歲，來(lái)自?xún)?yōu)渥家庭，法律專(zhuān)業(yè)一年級學(xué)生。有感于德國愈發(fā)右傾的政治環(huán)境和民粹政黨的崛起，她與幾個(gè)朋友聯(lián)合起來(lái)共同反對新右翼活動(dòng)。不久后，她結識了阿爾法和萊納，這兩人認為暴力是抗爭的合理手段。事情隨后愈演愈烈，路易莎面臨著(zhù)艱難的抉擇...

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簡(jiǎn)介：

　　After the corrupt former Mayor is killed by the peasants, poor janitor Juan Vargas is appointed new Mayor of a desert town in central Mexico. Although he tries to bring the motto of the ruling party to town (modernity, peace and progress) he realizes soon that there's nothing to do against corruption... except to become corrupt. Step by step, helped by his pistol, Juan Vargas becomes the law and the worst Major in the town's history.
　　
　　故事講述墨西哥農民殺死腐敗的前市長(cháng)后，不幸的看門(mén)人阿瓦爾加斯在墨西哥中部被任命為一個(gè)沙漠鎮的新市長(cháng)，他努力提倡執政黨的新意識，到任不久就立下反對腐敗的座右銘，但反對也開(kāi)始變得腐敗，一步步在他的槍手幫助下，阿瓦爾加斯成為法郎和鎮上歷史最?lèi)毫拥囊豁?yè)。

簡(jiǎn)介：Franz Maurer is released after 25 years in prison and finds a completely changed Poland.

簡(jiǎn)介：In a future world ruled by good-looking people, a terrorist group of mutants led by Ramon Yarritu kidnap the daughter of Orujo, a rich businessman, to claim for the rights of the ugly people. Escaping from the police in their spaceship, Ramon try to kill his gang in order to get all the ransom. The trip ends abruptly when they crash in Axturiax, the planet of the crazy miners where no woman lives

簡(jiǎn)介：年輕美麗的西德女孩卡塔琳娜?布魯姆（Angela Winkler 飾）有段失敗的婚姻，她偶然在親戚家的晚會(huì )上邂逅英軍男子路德維希?戈頓（Jürgen Prochnow 飾），兩人一見(jiàn)鐘情，并共度浪漫的一夜。然第二天一早，軍警破門(mén)而入，四處搜查，戈頓已不見(jiàn)蹤影。原來(lái)戈頓系警方通緝的搶劫犯，卡塔琳娜被作為同犯逮捕?！　【降乃巡掇Z動(dòng)一時(shí)，《圖片報》記者托特蓋斯（Dieter Laser 飾）四處打探消息，搜集卡塔琳娜的隱私。他將搜集到的素材提供給警長(cháng)拜茨邁納（Mario Adorf 飾），警長(cháng)再將這些作為證據，對卡塔琳娜進(jìn)行嚴刑拷問(wèn)。原本生活平靜的卡塔琳娜一瞬間跌至谷底……　　本片改編德國著(zhù)名作家，諾貝爾文學(xué)獎獲得者海因里希?伯爾的同名小說(shuō)。

簡(jiǎn)介：視肉如命的警探法蘭茲對剩餘大小事都漠不關(guān)心…。懶散的個(gè)性使他妻離子散、膽固醇超標，直到平靜的小鎮上一起火災謀殺案，才開(kāi)始讓他的錯位人生走回正軌。正當他想發(fā)憤圖強時(shí)，妻子卻將自己不滿(mǎn)一歲的兒子丟給他照顧。一邊要辦案；一邊還要當奶爸，蠟燭兩頭燒的他，該如何帶娃破懸案，擺脫這魯蛇的人生呢？

簡(jiǎn)介：《制勝人生》是一部阿根廷的偵探式影片，主要講述了盧卡斯如何抽絲剝繭破解了家中巨款被盜竊的真相。盧卡斯是法律顧問(wèn)，熱愛(ài)法律和寫(xiě)作，喜歡偵探犯罪小說(shuō)，他聰明善良。他哥哥馬斯在律師事務(wù)所上班，但其實(shí)虛有其表，為人放縱狡猾。他們的父母不久前去世了，留下房屋遺產(chǎn)。一天，他無(wú)意間遇見(jiàn)了一位陌生女子名叫巴爾巴拉。約會(huì )后兩人非常投緣，遂擦出愛(ài)的火花，盧卡斯帶她回了家。但是第二天早上，盧卡斯發(fā)現剛取出的購房巨款被盜，而巴爾巴拉消失的無(wú)影無(wú)蹤。

簡(jiǎn)介：When Rosa is expected to hand her boss the suntan lotion on a deer hunt, this feels like a sign. Don Reynaldo’s ranch is about to celebrate its farm anniversary, but this passionate hunter’s image is built on a lie. And so, here in the countryside, where men are men, employees are grateful subjects and women diligently and docilely hold it all together, cracks begin to appear in the social life of this microcosm. Ordered around day in and day out, unnoticed by those in her class-conscious surroundings, the menial Rosa gradually becomes an agent of change. While Don Reynaldo’s extended family contorts itself in a bid to save the old order, men begin to arrive at the farm in pickup trucks. Their appearance at the feast and a threat are enough to make the ageing patriarch fear for his life and his family – and force him to act. All that passes is observed by the animals who, either as trophies on the wall or as livestock out to pasture, seem to sense the end of an old hegemony.　　With a keen sense of how to deploy omens that herald change, Alejandra Márquez Abella portrays an epochal shift in rural Mexico – as seen by characters who are usually relegated to passive supporting roles.