In 1961, Stanislaw Rozewicz created the novella film "Birth Certificate" in cooperation with his brother, Taduesz Rozewicz as screenwriter. Such brother tandems are rare in the history of film but aside from family ties, Stanislaw (born in 1924) and Taduesz (born in 1921) were mutually bound by their love for the cinema. They were born and grew up in Radomsk, a small town which had "its madmen and its saints" and most importanly, the "Kinema" cinema, as Stanislaw recalls: for him cinema is "heaven, the whole world, enchantment". Tadeusz says he considers cinema both a charming market stall and a mysterious temple. "All this savage land has always attracted and fascinated me," he says. "I am devoured by cinema and I devour cinema; I'm a cinema eater." But Taduesz Rozewicz, an eminent writer, admits this unique form of cooperation was a problem to him: "It is the presence of the other person not only in the process of writing, but at its very core, which is inserperable for me from absolute solitude." Some scenes the brothers wrote together; others were created by the writer himself, following discussions with the director. But from the perspective of time, it is "Birth Certificate", rather than "Echo" or "The Wicked Gate", that Taduesz describes as his most intimate film. This is understandable. The tradgey from September 1939 in Poland was for the Rozewicz brothers their personal "birth certificate". When working on the film, the director said "This time it is all about shaking off, getting rid of the psychological burden which the war was for all of us. ... Cooperation with my brother was in this case easier, as we share many war memories. We wanted to show to adult viewers a picture of war as seen by a child. ... In reality, it is the adults who created the real world of massacres. Children beheld the horrors coming back to life, exhumed from underneath the ground, overwhelming the earth."　　The principle of composition of "Birth Certificate" is not obvious. When watching a novella film, we tend to think in terms of traditional theatre. We expect that a miniature story will finish with a sharp point; the three film novellas in Rozewicz's work lack this feature. We do not know what will be happen to the boy making his alone through the forest towards the end of "On the Road". We do not know whether in "Letter from the Camp", the help offered by the small heroes to a Soviet prisoner will rescue him from the unknown fate of his compatriots. The fate of the Jewish girl from "Drop of Blood" is also unclear. Will she keep her new impersonation as "Marysia Malinowska"? Or will the Nazis make her into a representative of the "Nordic race"? Those questions were asked by the director for a reason. He preceived war as chaos and perdition, and not as linear history that could be reflected in a plot. Although "Birth Certificate" is saturated with moral content, it does not aim to be a morality play. But with the immense pressure of reality, no varient of fate should be excluded. This approached can be compared wth Krzysztof Kieslowski's "Blind Chance" 25 years later, which pictured dramatic choices of a different era.　　The film novella "On the Road" has a very sparing plot, but it drew special attention of the reviewers. The ominating overtone of the war films created by the Polish Film School at that time should be kept in mind. Mainly owing to Wajda, those films dealt with romantic heritage. They were permeated with pathos, bitterness, and irony. Rozewicz is an extraordinary artist. When narrating a story about a boy lost in a war zone, carrying some documents from the regiment office as if they were a treasure, the narrator in "On the Road" discovers rough prose where one should find poetry. And suddenly, the irrational touches this rather tame world. The boy, who until that moment resembled a Polish version of the Good Soldier Schweik, sets off, like Don Quixote, for his first and last battle. A critic described it as "an absurd gesture and someone else could surely use it to criticise the Polish style of dying. ... But the Rozewicz brothers do no accuse: they only compose an elegy for the picturesque peasant-soldier, probably the most important veteran of the Polish war of 1939-1945." "Birth Certificate" is not a lofty statement about national imponderabilia. The film reveals a plebeian perspective which Aleksander Jackieqicz once contrasted with those "lyrical lamentations" inherent in the Kordian tradition. However, a historical overview of Rozewicz's work shows that the distinctive style does not signify a fundamental difference in illustrating the Polish September. Just as the memorable scene from Wajda's "Lotna" was in fact an expression of desperation and distress, the same emotions permeate the final scene of "Birth Certificate". These are not ideological concepts, though once described as such and fervently debated, but rather psychological creations. In this specific case, observes Witold Zalewski, it is not about manifesting knightly pride, but about a gesture of a simple man who does not agree to be enslaved.　　The novella "Drop of Blood" is, with Aleksander Ford's "Border Street", one of the first narrations of the fate of the Polish Jews during the Nazi occupation. The story about a girl literally looking for her place on earth has a dramatic dimension. Especially in the age of today's journalistic disputes, often manipulative, lacking in empathy and imbued with bad will, Rozewicz's story from the past shocks with its authenticity. The small herione of the story is the only one who survives a German raid on her family home. Physical survial does not, however, mean a return to normality. Her frightened departure from the rubbish dump that was her hideout lead her to a ruined apartment. Her walk around it is painful because still fresh signs of life are mixed with evidence of annihilation. Help is needed, but Mirka does not know anyone in the outside world. Her subsequent attempts express the state of the fugitive's spirits - from hope and faith, moving to doubt, a sense of oppression, and thickening fear, and finally to despair.　　At the same time, the Jewish girl's search for refuge resembles the state of Polish society. The appearance of Mirka results in confusion, and later, trouble. This was already signalled by Rozewicz in an exceptional scene from "Letter from the Camp" in which the boy's neighbour, seeing a fugitive Russian soldier, retreats immediately, admitting that "Now, people worry only about themselves." Such embarassing excuses mask fear. During the occupation, no one feels safe. Neither social status not the aegis of a charity organisation protects against repression. We see the potential guardians of Mirka passing her back and forth among themselves. These are friendly hands but they cannot offer strong support. The story takes place on that thin line between solidarity and heroism. Solidarity arises spontaneously, but only some are capable of heroism. Help for the girl does not always result from compassion; sometimes it is based on past relations and personal ties (a neighbour of the doctor takes in the fugitive for a few days because of past friendship). Rozewicz portrays all of this in a subtle way; even the smallest gesture has significance. Take, for example, the conversation with a stranger on the train: short, as if jotted down on the margin, but so full of tension. And earlier, a peculiar examination of Polishness: the "Holy Father" prayer forced on Mirka by the village boys to check that she is not a Jew. Would not rising to the challenge mean a death sentance?　　Viewed after many years, "Birth Certificate" discloses yet another quality that is not present in the works of the Polish School, but is prominent in later B-class war films. This is the picture of everyday life during the war and occupation outlined in the three novellas. It harmonises with the logic of speaking about "life after life". Small heroes of Rozewicz suddenly enter the reality of war, with no experience or scale with which to compare it. For them, the present is a natural extension of and at the same time a complete negation of the past. Consider the sleey small-town marketplace, through which armoured columns will shortly pass. Or meet the German motorcyclists, who look like aliens from outer space - a picture taken from an autopsy because this is how Stanislaw and Taduesz perceived the first Germans they ever met. Note the blurred silhouettes of people against a white wall who are being shot - at first they are shocking, but soon they will probably become a part of the grim landscape. In the city centre stands a prisoner camp on a sodden bog ("People perish likes flies; the bodies are transported during the night"); in the street the childern are running after a coal wagon to collect some precious pieces of fuel. There's a bustle around some food (a boy reproaches his younger brother's actions by singing: "The warrant officer's son is begging in front of the church? I'm going to tell mother!"); and the kitchen, which one evening becomes the proscenium of a real drama. And there are the symbols: a bar of chocolate forced upon a boy by a Wehrmacht soldier ("On the Road"); a pair of shoes belonging to Zbyszek's father which the boy spontaneously gives to a Russian fugitive; a priceless slice of bread, ground  under the heel of a policeman in the guter ("Letters from the Camp"). As the director put it: "In every film, I communicate my own vision of the world and of the people. Only then the style follows, the defined way of experiencing things." In Birth Certificate, he adds, his approach was driven by the subject: "I attempted to create not only the texture of the document but also to add some poetic element. I know it is risky but as for the merger of documentation and poety, often hidden very deep, if only it manages to make its way onto the screen, it results in what can referred to as 'art'."　　After 1945, there were numerous films created in Europe that dealt with war and children, including "Somewhere in Europe" ("Valahol Europaban", 1947 by Geza Radvanyi), "Shoeshine" ("Sciescia", 1946 by Vittorio de Sica), and "Childhood of Ivan" ("Iwanowo dietstwo" by Andriej Tarkowski). Yet there were fewer than one would expect. Pursuing a subject so imbued with sentimentalism requires stylistic disipline and a special ability to manage child actors. The author of "Birth Certificate" mastered both - and it was not by chance. Stanislaw Rozewicz was always the beneficent spirit of the film milieu; he could unite people around a common goal. He emanated peace and sensitivity, which flowed to his co-workers and pupils. A film, being a group work, necessitates some form of empathy - tuning in with others.　　In a biographical documentary about Stanislaw Rozewicz entitled "Walking, Meeting" (1999 by Antoni Krauze), there is a beautiful scene when the director, after a few decades, meets Beata Barszczewska, who plays Mireczka in the novella "Drops of Blood". The woman falls into the arms of the elderly man. They are both moved. He wonders how many years have passed. She answers: "A few years. Not too many." And Rozewicz, with his characteristic smile says: "It is true. We spent this entire time together."

　　二十年前被关闭的维玛维勒药厂因为从事非法药品研究被健康委员会勒令查封了.但是不法分子希安和二十年前在此工作的卡雷拉医生为了各自的目标研制一种释放人体潜在能力, 腐蚀身体的药物.他们选择目标偷偷进行人体试验, 带来了一系列离奇死亡.但是最终自食其果……

某天，久不谋面的老同学相约聚会。聚会在教师文伯（田雨 饰）及其妻子戴戴（代乐乐 饰）的家中举行。小人物吴小江（乔杉 饰）和老婆李楠（霍思燕 饰）、女强人韩笑（马丽 饰）、不出名的编剧贾迪（佟大为 饰）及其新结交的富家女友娇娇（奚梦瑶 饰）相继到来。身为心理医生的戴戴的一番话，让李楠对老公吴小江看手机时鬼鬼祟祟的行为起了疑。之后在众人的提议下，他们决定玩一个游戏：所有人都把手机放在餐桌中央，期间无论哪部手机接到的微信、短信还是电话都必须当众宣读或接听。

　　

Dracula is resurrected, preying on four unsuspecting visitors to his castle.

二战结束后，思乡心切的大批美军士兵踏上旧金山港即投进久候的亲人的怀抱，但保罗•萨顿（基努•里维斯）久等仍不见其妻子的踪影，夕阳西沉时，他拖着孤单落寞的身躯走回家中，发现妻子早已改变，她的眼里只剩金钱不再有他。

黑白画面，慵懒的爵士乐，不求上进的主人公和无伤大雅的小笑话，影片一开拥有某种伍迪·艾伦电影的气氛。这部来自德国导演杨·奥雷·格斯特的处女作叙述了一名普普通通的柏林年轻人生活中的琐事。成名于《希特勒的男孩》的汤姆·希林已经是而立之年但依旧长相天真，他饰演主人公尼克·菲舍(Niko Fischer)是一名法律大学的辍学生。尼克瞒着自己的父亲，每月依旧从父亲哪儿领取生活费。除此而外，他的生活可以称得上是无所事事。为此女朋友和他分手，之后尼克搬到了新住处，在那里遇到了深陷中年危机的新邻居(尤斯特斯·范·多诺尼)。诚然，尼克时常感到无聊得很，他却不愿意做出任何改变。直到被父亲发现了辍学的事实，尼克的生活来源就此中断。尽管如此，观众却对银幕上无所事事的尼克充满了同情心。尼克有位死党马特泽(马可·豪斯曼)是一名不太成功的演员，他正在演出一部二战题材的煽情剧。影片的...

　　十九世纪末的美国纽约，精明、干练、泼辣的媒婆Dolly一心一意想为富翁Vandergelder作媒，结果却促成了自己与富翁的婚姻，同时，也撮合了富翁的两个伙计与女帽商及助手、富翁侄女与艺术家的婚事。

图里奥公爵（吉安卡罗·吉安尼尼 Giancarlo Giannini 饰）迎娶了美丽的妻子秋丽安娜（劳拉·安托妮莉 Laura Antonelli 饰），虽然家有娇妻，但是天性好色的图里奥公爵还是整日在外面沾花惹草，这让年轻的秋丽安娜感到非常的寂寞。 随着时间的推移，秋丽安娜渐渐无法忍受这样压抑的生活，一次偶然中，她邂逅了一位名叫达博里奥（马克·波雷尔 Marc Porel饰）的男子。达博里奥是一位贫穷的作家，虽然身无分文，但是他的才华深深的吸引了秋丽安娜，两人渐渐走到了一起。最终，这段背德的感情被图里奥公爵所知晓，然而最让他感到愤怒的并非妻子对自己的不忠，而是达博里奥低贱的身份。

恰鲁拉达（Madhabi Mukherjee 饰）和丈夫结婚了，然而，令她没有想到的是，等待着自己的并非充满了幸福和快乐的婚姻生活。恰鲁拉达的丈夫是一名知识分子，虽然饱读诗书，但他选择将全部的精力投入到研究政治刊物之中，在他的思维里，妻子只需要料理好家事即可，并不需要自己的陪伴和理解。　　随着时间的推移，恰鲁拉达和丈夫之间的关系越来越冷淡，她终日生活在孤独之中，内心里非常的苦闷。就在这个节骨眼上，丈夫的堂兄走近了恰鲁拉达的生活，他是一位热情洋溢的诗人，对生活充满了憧憬，在他的影响下，恰鲁拉达渐渐走出了忧郁，并且明白了如何追求心中的梦想。