Aston (Robert Shaw), a quiet, reserved man, lives alone in a top-floor cluttered room of a small abandoned house in a poor London district. He befriends and takes in Mac Davies (Donald Pleasence), an old derelict who has been fired from a menial job in a café. In time Aston offers him a job as caretaker of the house. Aston's brother, Mick (Alan Bates) - a taunting, quasi-sadist - harasses the derelict when his brother is away, countermanding his orders. Eventually Aston, himself irritated by the cantankerous old man, puts him out.

Before creating the beloved courtroom drama Rumpole of the Bailey (1978), writer John Mortimer found inspiration in his own life for this portrait of a difficult but enduring love between father and son in mid twentieth century Britain. Screen legend Sir Laurence Olivier stars as the eccentric patriarch, a blind barrister so stubborn and cantankerous that he refuses to acknowledge his sightlessness. Sir Alan Bates (Gosford Park (2001)) portrays his devoted son, who follows his father's footsteps in the law while longing to become a writer, with Jane Asher (Brideshead Revisited (1981)) as his wife. Adapted for the screen by Mortimer and filmed largely on-location at his family estate in bucolic Oxfordshire, this production garnered multiple awards, including an International Emmy for best drama. By turns hilarious and heartbreaking, it captures the special bond between father and son, which at times seems unbearable, but ultimately unbreakable.

The duke of York, nicknamed Bertie, was born as royal 'spare heir', younger brother to the prince of Wales, and thus expected to spend a relatively private life with his Scottish wife Elisabeth Bowes-Lyon and their daughters, in the shadow of their reigning father, George V, and next that of his elder brother who succeeded to the British throne as Edward VIII. However Edward decides to put his love for a divorced American, Wallis Simpson, above dynastic duty, and ends up abdicating the throne, which now falls to Bertie, who reigns as George VI. Now he expects to be, as constitutional monarch, little more then a figure head, but again faith has more in store for him: Nazi Germany proves such a formidable war challenger to the British Empire that the nearly desperate nation looks to its royal couple as comforting symbol of the unbroken spirit, a part they play with great success, while hosting chased monarchs and governments from continental Europe...

An Englishman with a grudge against an insurance company for a disallowed claim fakes his own death, but is soon pursued by an insurance investigator.

A homely but vivacious young woman dodges the amorous attentions of her father's middle-aged employer while striving to capture some of the glamorous life of her swinging London roommate.

公元前72年，古羅馬一段悲壯的奴隸抗爭故事交織出愛恨情仇……古羅馬奴隸斯巴迪格斯不堪暴虐的統治，決定率領其他奴隸發動起義，以圖推翻羅馬帝國暴政。這部三小時的史詩式鉅獻深刻反映人民追求自由的永恆鬥爭，場面之浩瀚、氣勢之磅礡，悲壯非凡

In the not-too-distant future Berlin is shocked by a series of spectacular suicides; a policeman's investigations lead him to a beautiful, enigmatic woman and the revelation of a sinister plot to manipulate the population through mass hypnosis.

故事发生在50年代的爱尔兰，德斯蒙德（皮尔斯·布鲁斯南 Pierce Brosnan 饰）的妻子离开了他，留下两个儿子和一个女儿艾芙琳（索菲·瓦瓦塞尔 Sophie Vavasseur 饰）同他相依为命。祸不单行，德斯蒙德在一场意外中丢掉了工作，没有收入的他选择夜夜在酒吧流连，依靠酒精来麻痹痛苦的神经。
政府很快就发现了德斯蒙德糟糕的经济和精神状态，认定他不再适合抚养孩子，于是，他的三个孩子被送入了收容所。在收容所里，艾芙琳遭到了非人的虐待，这让德斯蒙德重燃斗志。在伯纳黛特（朱丽安娜·玛格丽丝 Julianna Margulies 饰）的帮助下，德斯蒙德重新振作起来，有了工作和积蓄的他决定向收容所申请要回他的孩子。

芭思西巴（朱莉·克里斯蒂 Julie Christie 饰）的叔叔一辈子没有结婚也没有后代，因此，芭思西巴成为了他的农场的唯一继承人。继承了农场之后，芭思西巴结识了在那里生活的奥克（阿兰·贝茨 Alan Bates 饰），奥克被芭思西巴的活力所吸引，深深的爱上了她。同样坠入了情网的，还有农场主伯德伍德（彼得·芬奇 Peter Finch 饰），但最终，芭思西巴选择了英俊的中尉特洛伊（特伦斯·斯坦普 Terence Stamp 饰），和他携手步入了婚姻的殿堂。
然而，婚后的生活并没有芭思西巴想象里的那么快乐，她和特洛伊的爱情很快就走到了尽头，在一场冲突中，伯德伍德开枪打死了特洛伊。

斯蒂芬妮（朱丽·安德鲁斯 Julie Andrews 饰）是一名才华横溢且小有名气的小提琴演奏家，然而，本来拥有无量前途的她却因为多发性硬化症不得不提前告别职业生涯，不仅如此，疾病给她的精神和肉体带来了双重的痛苦，使斯蒂芬妮患上了抑郁症，她不得不向精神病医生寻求帮助。
可是，很快斯蒂芬妮就发现，医生无法带领她走出困境。更糟的是，她的丈夫在如此关键的时刻竟然劈腿了女秘书。深受打击的斯蒂芬妮封闭起了自己的内心，拒绝同外界接触，整天躲在屋子里，躲在回忆和过去的荣光中无法自拔，甚至想到了结束这痛苦的一生。幸运的是，女仆救了垂死的斯蒂芬妮，后者也开始察觉，对待命运的最好方式不是服从，而是反抗。

Set in the early 1910s at a time of passionate artistic experimentalism, and based on biographical fact, this is the story of Vaslav Nijinsky, the young and brilliant but headstrong premier danseur and aspiring choreographer of the Ballets Russes. The company is managed by the famous Sergei Diaghilev, himself a controlling and fiercely possessive impresario. The increasing tension between these powerful egos, exacerbated by homosexual desire and jealousy, becomes triangular when the young ballerina Romola de Pulsky determinedly attempts to draw the increasingly mentally unstable Nijinsky away from Diaghilev, Written by Eric Wees <eric_wees@pch.gc.ca>

Madame Ranevskaya is a spoiled aging aristocratic lady, who returns from a trip to Paris to face the loss of her magnificent Cherry Orchard estate after a default on the mortgage. In denial, she continues living in the past, deluding herself and her family, while the beautiful cherry trees are being axed down by the re-possessor Lopakhin (Teale), her former serf, who has his own agenda.

A traveller by the name of Crossley forces himself upon a musician and his wife in a lonely part of Devon, and uses the aboriginal magic he has learned to displace his host.

1969 film directed by Ken Russell

As Vic Brown vacillates between infatuation and disinterest for his co-worker Ingrid Rothwell, she finds out that she is pregnant and Vic has to reconcile how he thought his life would go with what life actually has in store for him.

Two one-act plays explore love and loneliness. In "Table by the Window" an aging fashion model contrives a reunion with her ex-husband, a politician ruined by scandal, and their passion is rekindled. In "Table Number Seven" a meek woman harbors a secret love for a man accused of fraud and sex offenses, forcing her to take a stand for the first time in her life.

It has been said that most great twentieth century novels include scenes in a hotel, a symptom of the vast uprooting that has occurred in the last century: James Ivory begins Quartet with a montage of the hotels of Montparnasse, a quiet prelude before our introduction to the violently lost souls who inhabit them.
Adapted from the 1928 autobiographical novel by Jean Rhys, Quartet is the story of a love quadrangle between a complicated young West Indian woman named Marya (played by Isabelle Adjani), her husband Stefan (Anthony Higgins), a manipulative English art patron named Heidler (Alan Bates), and his painter wife Lois (Maggie Smith). The film is set in the Golden Age of Paris, Hemingway's "moveable feast" of cafe culture and extravagant nightlife, glitter and literati: yet underneath is the outline of something sinister beneath the polished brasses and brasseries.
When Marya's husband is put in a Paris prison on charges of selling stolen art works, she is left indigent and is taken in by Heidler and his wife: the predatory Englishman (whose character Rhys bases on the novelist Ford Madox Ford) is quick to take advantage of the new living arrangement, and Marya finds herself in a stranglehold between husband and wife. Lovers alternately gravitate toward and are repelled by each other, now professing their love, now confessing their brutal indifference -- all the while keeping up appearances. The film explores the vast territory between the "nice" and the "good," between outward refinement and inner darkness: after one violent episode, Lois asks Marya not to speak of it to the Paris crowd. "Is that all you're worried about?" demands an outraged Marya. "Yes," Lois replies with icy candor, "as a matter of fact."
Adjani won the Best Actress award at Cannes for her performances in Quartet: her Marya is a volatile compound of French schoolgirl and scorned mistress, veering between tremulous joy and hysterical outburst. Smith shines in one of her most memorable roles: she imbues Lois with a Katherine-of-Aragon impotent rage, as humiliated as she is powerless in the face of her husband's choices. Her interactions with Bates are scenes from a marriage that has moved from disillusionment to pale acceptance.
Ruth Prawer Jhabvala and James Ivory's screenplay uses Rhys's novel as a foundation from which it constructs a world that is both true to the novel and distinctive in its own right, painting a society that has lost its inhibitions and inadvertently lost its soul. We are taken to mirrored cafes, then move through the looking glass: Marya, in one scene, is offered a job as a model and then finds herself in a sadomasochistic pornographer's studio. The film, as photographed by Pierre Lhomme, creates thoroughly cinematic moments that Rhy's novel could not have attempted: in one of the Ivory's most memorable scenes, a black American chanteuse (extraordinarily played by Armelia McQueen) entertains Parisian patrons with a big and brassy jazz song, neither subtle nor elegant. Ivory keeps the camera on the singer's act: there is something in her unguarded smile that makes the danger beneath Montparnasse manners seem more acute.

An uptight English writer traveling to Crete on a matter of business finds his life changed forever when he meets the gregarious Alexis Zorba.

British teenager Leo Colston spends a summer in the countryside, where he develops a crush on the beautiful young aristocrat Marian. Eager to impress her, Leo becomes the "go-between" for Marian, delivering secret romantic letters to Ted Burgess, a handsome neighboring farmer.