描述了一个叫孙的债主向阿尔泰讨债的故事。他是能讨债还是会被债务人动摇心？

　　刚到曼谷的湾仔加入了道路救援服务组织，并在一名记者的帮助下揭露了一场涉及全市的阴谋。

1949年，饱受战争重创的意大利城市那不勒斯，孤儿卡明和塞莱斯蒂娜相依为命。登上一艘海军舰艇，两个孩子横跨大西洋，前往纽约寻找塞莱斯蒂娜失散已久的姐姐。但是来到陌生的国度，手中的地址没能指引亲人的方向，一场新的冒险又揭开帷幕。本片以费里尼尘封的剧本为底稿，却弱化了“费里尼式”的躁动和怪诞，取而代之的是温馨质朴，仿佛一出传统的意大利三幕歌剧。导演借由两个意大利孩子的眼睛，用新现实主义笔触浸泡童话滤镜，在战后的创伤褶皱中打捞希望的光尘，引领观众穿梭回七十多年前，置身于满是瓦砾的那不勒斯、小世界般的越洋航船和充满了新世界气息的纽约。

　　Pryce Cahill是一位已过壮年的前职业高尔夫球手，他的职业生涯在20年前过早脱轨。在婚姻破裂并被印第安纳州一家体育用品店解雇后，Pryce将赌注和未来完全押在了一位名叫Santi的17岁高尔夫天才身上。 本剧是一部发自内心、令人感觉良好的体育题材喜剧，前所未有地呈现了一个在高尔夫世界中建立起来的家庭和这个家庭成员之间的关系。

The story appears simple on the surface, but is revealed, especially after multiple viewings, as more multi-layered and textured than Cassavetes at his best. Ostensibly it concerns a 14-year old Catholic girl, Wynne (Agutter) growing up in this post-modern wasteland, who develops a crush on her much older adoptive brother (Marshall)- a crush which perversely deepens and grows into infatuation once she starts to believe he is the local sex killer. This is in itself an idea that makes you sit up and jolt, but as the narrative develops, it continues not necessarily along a linear path but in several confusing and fascinating directions: the family's history, (detailed effectively in chilling flashback during an improvised seance) is a chequered one, and has suffered at least one major relocation and upheaval in the last ten years. At the crux, however, it's the depiction of socialal changes that make I Start Counting so fascinating and elevate its language far beyond the confines of the standard horror film. The major subtext- that teenage girls were maturing more quickly than before, and developing full sexual and romantic appetites (even if in thought rather than deed) but were not possessed of enough discretion to make the right choices- was a step forward for a genre in which its young females had previously been portrayed as bimbo victims (Cover Girl Killer and The Night Caller spring to mind), but not one that all viewers would necessarily agree with. But most striking of all, and possibly the most enduring image which the viewer will take away with them, is of the masterful symbolism with which director Greene invests every shot. Every inch of the Kinch family's world- their house, their walls, their TV, Agutters underwear, bedroom furniture and toys, Sutcliffe's clothes, Marshalls van, the local Catholic church, their town centre, their record shop) - is painted a bright, scintillating white- a white which, by inference, is slowly becoming smudged and corrupted with the dirt of the outside world. White also symbolises, of course, purity and innocence (two qualities Catholic schoolgirls are supposed to hold dear), and it is into this world of innocence that the ever-present red bus (a symbol of violation and penetration), conducted by the lecherous yet similarly juvenile Simon Ward, makes regular journeys. The allegory is further expanded in one scene where Agutter believes she sees the Christ figure in church weeping blood: by the time we acknowledge it, its gone, but the seed has already been planted. Rarely in a genre production has the use of colour and background been so important or effective in creating a uniformity of mood. I Start Counting is as near-perfect an end to a decade as one could hope for, and exactly the kind of film people should be making now- which is, of course, exactly why they never will. A genre essential. by D.R. 

“我想念每一个人。我们能在那个岛上再见面吗？”一条来自五年前自杀的学校明星“林珈安”的神秘信息被发送给了她以前的高中同学、学长和姐姐。每个人都想知道这个消息是如何发出的，因为林珈安很久以前就去世了。他们12个人回到了荒岛，也就是林珈安五年前去世的地方…向林珈安致敬，并找出是谁把这个消息当成笑话的真相。但越接近真相，他们就越能发现自己残酷的过去。他们称之为“朋友”的人的黑暗秘密使这个荒岛变成了一个血腥的竞技场…

根据玛丽·洛夫尔的传记《米特福德女孩》。

年轻漂亮的玛雅（迪帕•萨伊饰）对生活充满幻想和欲望。一天，她的父亲摔下楼梯弄伤了腿。一个年轻的乡村医生（法路克•谢赫饰）来医治。温柔的爱之花在绅士的医生和玛雅之间绽放，他们结婚了。

　　一种诡异的传染病引发的身体恐怖故事。一对夫妇度过了一个激情的夜晚，直到一种流行性传染病毒迫使他们把自己锁起来，因为周遭方外的世界彻底颠覆了。。。

In dem Film wird von den widersprüchlichen Seiten der Liebe und des Glücks erzählt.