发疯的德国战犯（马克西米连·谢尔饰）被富商父亲（弗雷德里克·马奇饰）关在家中，后者使其相信站在在15年后还在继续。

In Naples, a voice from the skies announces one morning that the final judgment will be at 6 p.m. on that day. What follows is a series of vignettes depicting various people's reactions (or lack there of) to the announcement.

《玛拉帕加之墙》是由雷内·克莱芒执导的爱情片，Jean Gabin、Isa Miranda等出演。该片讲述了彼埃尔在逃离法国警方通缉中与服务员玛丽亚成为亲密的朋友的故事。

德西卡作品，此片秉承了意大利现实主义精髓，关注战后普通民生，剧情一波三折，演员演技精湛，镜头也十分讲究；一对相爱的小夫妻苦于无地可住（说明蜗居之苦，全世界各年代通用），在遭遇家庭排挤、投奔朋友无解、租房无望后，急中生智，充分利用丈夫的手艺行当，意欲在一夜之间令“江山大改”，虽最后紧急关头屋顶尚留一方空白，但结尾处警察的高抬贵手，给本片留下温馨余味；片名《屋顶》乃本片泉眼，处处着眼，并担当了屋子和家庭的象征。

"The Witch Burnt Alive"
After a very long, but visually arresting animated opening credits sequence, Luchino Visconti (Death in Venice) directs the first story, which is the longest of the five, taking approximately a third of the film's running length. Mangano plays a superstar actress and model who travels to a mountain resort, only to find the well-to-do inhabitants have prejudices and preconceived notions about her based on her public persona. The women are all jealous and the men all want to sleep with her, but all Mangano wants is to be left alone. It's a mostly somber satirical piece, but story-wise, it languishes in its modest idea a bit long, becoming inconsequential to all but those fascinated by the realities of being famous.
"Community Spirit"
Bolognini's piece isn't really a story. It's more of a visual gag, in a short segment that features Mangano offering to take an injured man to a hospital, driving him at breakneck speed throughout the city, but not stopping at locations where he might find aid. I won't give away the punchline here, but it succeeds in being amusing, even if it's the kind of thing that only is interesting the first time through.
"The Earth Seen from the Moon"
The esteemed writer/director, Pier Paolo Pasolini (Salo), crafts the middle segment, which is the most artistic and memorable of the five. Reminiscent in style to "Don Quixote", a recently widowed father and his son travel around the country in search of a new wife and mother, and after a long period, they discover the literally speechless Mangano. She brings joy into their lives, but they are poor, and in order to find a better life for themselves, they concoct a scheme to try to make some quick cash. The story is contrived, and not completely interesting, but the outlandish performances, artwork, and costumes does evoke great charm and likeability. Although mute, it's probably the most appealing of Mangano's five performances, and Toto is terrific.
"The Sicilian"
Franco Rossi directs the fourth an shortest piece, a straight-forward revenge story that comes and goes before it ever has a chance of becoming interesting. It's violent, but easily the least satisfying of the five stories.
"A Night Like Any Other"
Eastwood's appearance is clearly the biggest attraction here, which was filmed in between the Sergio Leone "Dollars" trilogy. It's an enjoyable departure from his normal roles, playing a comedic romantic lead, and he is affably fun to watch. Famed Italian director, Vittorio de Sica (The Bicycle Thief, Umberto D.) does a masterful job with the story, which perfectly blends the mundane and the fantasy in a visually satisfying way. The story is about a bored housewife (Mangano, of course), who tries in vain to get her husband to realize that he is not as romantic as he used to be. The scene is interspersed with comedic romance sequences revolving around the couple's past romantic interludes, and dreams of how their lives should be.

《核战新娘》是一部关于世界未来的幻想片，尽管剧情荒诞，却寓意深远。影片由意大利著名电影编剧柴伐蒂尼（《擦鞋童》《偷自行车的人》）创作，也是他唯一写过的一本超现实剧作，影片原名〈战争〉，在北美改名为《核战新娘》。
Director Veljko Bulajic is one of Yugoslavia's best known names (The Battle of Neretva), but Rat is a mostly tiresome mixture of well-meaning, simpleminded messages, and some really pitiful humor. The fault is almost entirely with screenwriter Cesare Zavattini, who made a name with Shoeshine and The Bicycle Thief and a couple dozen more Italian classics. The jokes are terrible and the cartoonish characterization almost non-existent. John and Maria make a nice couple and that's about it - they're both sweet, perfect and attractive.
Most of the satirical efforts are remindful of Chaplin's The Great Dictator, with pompous officials and soldiers making very harsh and ruthless decisions. The Captain accepts a dinner invitation one minute, and then the next, is following orders to have John shot. John's best friend is unemployed; the army gives him a job but he ends up on John's firing squad. The idea of keeping the country anonymous is okay, but the canned messages are thin, bleak, and predictable. War is Bad. Kids and marriage are Nice. War is Cruel. The comedy, which amounts mostly to army marching gags that wouldn't rate in an Abbott & Costello movie, is just terrible. Good images include a man wailing over his cow shot from above by jet aircraft, and the blasted couple stumbling through the rubble-strewn finale, like Adam and Eve in Hiroshima.
This is no cheapie; there was obviously full army cooperation from Tito's red brigades, and the scenes of jets strafing, etc, are fairly advanced. The ruins of the city look pretty much identical to today's news from Palestine. The special effects are primitive. One weird scene occurs when the President switches the television view to a camera attached to the nose of one of his attacking missiles. Crowds watch as the missile descends on hundreds of people in a town square - helpless victims just like 'us.'

Some Italian partisans want to take refuge in a convent to escape German raids. The nuns are a little perplexed at first but then agree since one of the men is seriously wounded. When the partisans eventually leave, the Germans take a terrible revenge.

Naples of the early twentieth century. A thug keeps a girl completely submissive and, having discovered that she is the daughter of a nobleman, tries to blackmail the father.

Based on the Nikolai Gogol story but set in 1950s Italy, "The Overcoat" is the story of a poor city hall clerk whose only desire is to buy a new overcoat.