一名前海军陆战队军人，为保护他生病的女儿而对芝加哥的一名罪犯发起了一场战斗。

阿列克塞（谢尔盖·贝泽鲁科夫 Sergei Bezrukov 饰）是一位非常有名的芭蕾舞演员，却在一次表演中身受重伤，不得不告别舞台。阿列克塞一生都将芭蕾舞表演视作是自己生命的支柱，因此这一重大变故给予了阿列克塞沉重的打击。　　一晃眼二十年过去，阿列克塞的身体状况每况愈下，甚至很快就将会无法行走。然而，越是身陷低谷，阿列克塞就越是无法忘却对于芭蕾舞的热情。在这二十年中，阿列克塞一直都在设计一些难度非常高的芭蕾舞动作，现在，单纯的设计已经再也无法满足他了，他决定再度站上舞台，向病魔宣战。可是，阿列克塞要面对的并非生理上的痛楚这么单纯，他还要抵御周遭人的诋毁和怀疑。

卡萝是位脱口秀节目的女主持人，她对员工同事苛刻，对家人冷漠，甚至为了现在的事业失去了爱情。圣诞前夜的特别节目开始直前，卡萝躺在沙发上睡觉，去世的玛拉姑妈的灵魂来提醒卡萝，说会有三个圣诞精灵来拜访她。十二点整，第一个精灵来了，他带着卡萝回到了过去，有儿时的成长场景，还有卡萝和约翰的恋爱经历。不久第二个精灵带着卡萝到了她的助理家，她的姐姐家还有约翰的工作地点。最后第三个精灵带她来到了未来，当看到未来自己悲惨的下场，卡萝幡然醒悟。卡萝从梦中惊醒，开始改变自己，她的改变挽回了陷入危机中的亲情，友情。最终爱情也回到了她身边。

芒咕是动物城里负责给居民们送洗衣物的驴子。动物城的老国王狮子因为年迈打算退位，狐狸说服国王发起一场选举活动，在狐狸的安排下，成天爱做白日梦的芒咕竟然当选新的国王。

拉杰（阿克谢·库玛尔 Akshay Kumar 饰）是一名替身演员，在一场婚礼中，他结识了名为辛姆丽塔（卡琳娜·卡普尔 Kareena Kapoor 饰）的外科医生，虽然两人的爱情观出奇的一致，那就是不相信这个世界上有真爱存在，但他们的个性实在是大相径庭，每一次见面都惹出一连串的误会和麻烦。　　某日，拉杰在工作中受了伤，而治疗他的主治医生恰恰就是辛姆丽塔，而在手术的过程中，辛姆丽塔竟然将手表挂坠落在了拉杰的肚子里。无奈之下，辛姆丽塔只得假装接近拉杰，向他大献殷勤，以掩饰自己的失物。在此过程中，两人竟然假戏真做，彼此之间产生了真挚的感情，成就了一段佳话良缘。

　　童年时代的悲惨遭遇让迈克尔（瑞安·雷诺兹 Ryan Reynolds 饰）和父亲查尔斯（威廉·达福 Willem Dafoe 饰）之间有着深深的隔阂，如今已经是一位知名小说家的迈克尔刚刚完成了一本名叫《花园里的萤火虫》的小说，这本小说记载了他童年的全部伤痛。 　　母亲丽莎（朱莉娅·罗伯茨 Julia Roberts 饰）终于完成大学的喜讯让迈克尔回到了家乡，这里有他所熟悉的一切，亦有让他痛苦不已的往昔。不幸的是，当迈克尔踏进家门之时，等待着他的却是母亲在车祸中不幸丧生的噩耗，看着悲痛的父亲，迈克尔开始重新思考起亲情的意义。对于迈克尔的新书，父亲暴跳如雷，他将它看作是儿子对于自己的控诉，矛盾重新在父子两人之间爆发开来。

A magazine writer visits Laos for an assignment and meets a beautiful local girl. Will a series of unexpected events keep them apart?

暂无剧情

在单身男人数目正不断上升的韩国，申恩庆是一个婚介红娘，专门在婚介所替人保媒牵线，古道热心地替不少单身男女找到了归宿，可是近水楼台的她却始终未能找到自己的另一半。每个寄简历到婚介所的男人在相片上看都是那么的相貌不凡、气宇轩昂，但见面后却总是“超乎意料”，一想到还要和这些男人去谈婚论嫁，申恩庆简直就要“抓狂”了……一天，她看见了电脑设计师郑俊浩寄来的照片……

The issue of War widow representation in Israeli cinema is one of the most complex for the local industry for it seems to be unique and with a very local and specific iconography.　　The war Widow is a difficult character to digest. Because this is an especially painful topic in Israel, its mode of representation is almost always problematic.　　Gila Almagor in Tofano's siege is one of the first characters of the modern war widows to appear on Israeli cinema screens.　　The human and social complexity of the status of widows was not represented adequately and personally until her complex and fine appearance in this film.　　It was mostly Preceded by cliches of heroic women who have sacrificed for the nation with characters to which it was very difficult to get attached, nor to their personal grief.　　Siege was directed by an unknown Italian director of that period. Although Gilberto Tofano was brought as a professional director on the wings of inspiration made by the French New Wave of those years, he managed to turn out a very exciting work which has caught the Israeli warmth and sense of social siege which surrounds the Israeli widows, including the great expectations from them and the social stigmas.　　Tofano wrapped his leading lady with lots of warmth and gave a place of honor to Almagor's impressive presence in the film.　　This is without a doubt one of Almagor's best and most accurate performances. The restraint in her performance plus the shooting and expressive use of angles by Tofano and his soft European touch which was far off from the aggressive local product managed to produce a sense of documenting an authentic tragedy with a tangible personal touch that minimized the national dimension. The result stands the test of time proudly several decades after its creation.