备注：已完结
类型：剧情片
主演：维尔纳·克劳斯 Ruth Weyher Ilka Grüning
导演：G·W·帕布斯特
语言：其它
年代：未知
简介：帕布斯特的《一个灵魂的秘密》(Geheimnisse einer Seele, 1926)是第一部在电影叙事中严肃地尝试使用新弗洛伊德学派精神分析原理的影片。渴望使用科学方法解决心理问题，使得《一个灵魂的秘密》成为新客观派的另一种变体。这部影片实际上是一个案例研究，一个看似普通的男人，患上了一种刀具恐惧症，他试图从一个精神分析学家那里得到治疗。尽管影片对精神分析的描述太过简单，但一些表现主义风格的梦境段落给影片增添相当多的趣味。 （波德维尔等《世界电影史》第2版，第154—155页。）
备注：已完结
类型：剧情片
主演：Julie Grundtvig Wester Christian He
语言：丹麦语
年代：未知
简介：1119年，“圣殿骑士团”成立，他们是经验丰富的职业军队，积聚了相当可观的财富。 1307年10月5日，法国国王想通过打击圣殿骑士团，没收其财富，以补充日趋窘困的财政开支。但是，圣殿骑士团却巧妙地把大量财富隐藏了起来。 在遥远的今天，几个丹麦的小孩在一次偶然的情况下知道了这份宝藏，但是打开宝藏需要特定的符号,于是他们决定一起去寻找这份宝藏，但是路途异常艰辛，他们能否找到这份宝藏？
备注：已完结
类型：剧情片
主演：Thomas Bartholomäus Jarl Lando Bege
语言：其它
年代：未知
简介：For Kevin, a shy teenager, being bullied is part of everyday life. But one day an older guy, Benny, comes to his aid. Impressed by Benny's self-as-sured appearance, Kevin seeks his company from then on, and increasingly idolizes him. But Benny's intention is not to protect the younger boy, quite the contrary.
备注：已完结
类型：剧情片
主演：Heinrich Hargesheimer Carlheinz Har
语言：其它
年代：未知
简介：The subtitle of Jean-Marie Straub and Danièle Huillet’s first feature, from 1965, “Only Violence Helps Where Violence Reigns,” suggests the fierce political program evoked by their rigorous aesthetic. The pretext of the film, set in Cologne, is Heinrich Böll’s novel “Billiards at Half Past Nine,” which they strip down to a handful of stark events and film with a confrontational angularity akin to Bartók’s music that adorns the soundtrack. The subtlest of cues accompany the story’s complex flashbacks. The middle-aged Robert Fähmel tells a young hotel bellhop of persecutions under the Third Reich; his elderly father, Heinrich, an architect famed for a local abbey, recalls the militarism of the First World War, when his wife, Johanna, incurred trouble for insulting the Kaiser. A third-generation Fähmel is considering architecture, just as the exiled brother of Robert’s late wife, returns, only to be met by their former torturer, now a West German official taking part in a celebratory parade of war veterans. Straub and Huillet make the layers of history live in the present tense, which they judge severely. The tamped-down acting and the spare, tense visual rhetoric suggest a state of moral crisis as well as the response—as much in style as in substance—that it demands.
