Vanina Vanini, a bored, spoiled Roman countess, falls in love with a dedicated young patriot who is in Rome to assassinate a traitor to the brotherhood of the Free Masons.

Acts of the Apostles (TV mini-series 1969)

Released in the United States in the early 50's under the title of WOMAN, this obscure early Rossellini film was made at the end of the war and completed by Marcello Pagliero. It is a sensational little tragedy about a prostitute who returns from the city to her home town where she is variously loved, spurned, and lusted over. The grim, fatalistic atmosphere bears a good deal of resemblance to the much better known contemporary masterpiece OSSESSIONE, by Luchino Visconti. In fact Massimo Girotti appears in both films. Elli Parvo is quite riveting in the main role.

Dubbed "the most Catholic of all film directors" by one critic, I guess it was only a matter of time before Roberto Rossellini tackled the life of Christ on celluloid. Ironically, this he did in what proved to be his last feature film which was, in itself, a follow-up to his TV mini-series ACTS OF THE APOSTLES (1969). That earlier work was interesting for treating little-known passages from the New Testament but, with an unhurried pace and a generally unassuming tone, the end result was decidedly meandering. Conversely, THE MESSIAH presents all-too-familiar events – with the overall effect feeling lengthy still, yet distinctly more cinematic. That said, it starts off with the arrival of the Jews in the Promised Land and the appointment of their first king (Saul) before moving on to the life of Christ; actually, this is also one of the few films to show the famous incident in which Jesus is lost in the temple as a boy. Unsurprisingly, it doesn't stray much from the spirit – or word – of the Gospels: even so, in the throes of an agonizing death, Herod The Great (played by Vittorio Caprioli – though his trademark flustered demeanor is downplayed by having his voice dubbed) is seen planning the annihilation of his own subjects akin to the practice of ancient Egyptian rulers!
Incidentally, the rich and commanding voice of Christ himself is supplied by Enrico Maria Salerno – a superb actor in his own right who had actually already handled the very same task in THE GOSPEL ACCORDING TO ST. MATTHEW (1964) – which is effectively contrasted with the inconspicuous appearance of the young man who appears in the role (perhaps best approximating the Lothaire Bluteau of Jesus OF MONTREAL [1989]). This Messiah, then, is far removed from the striking good-looks of Jeffrey Hunter (KING OF KINGS [1961]) and Robert Powell (the Jesus OF NAZARETH [1977] TV mini-series) or the brooding power of Max von Sydow (THE GREATEST STORY EVER TOLD [1965]) and Willem Dafoe (THE LAST TEMPTATION OF Christ [1988])! Naturally, the bulk of the narrative is devoted to Christ's public life – though no overdue emphasis is placed on the miracles he performed (these are mentioned but rarely seen) – which also provides the film with its essential core…since the latter section, revolving around the more commonly-depicted events of Jesus' trial (where Jean Martin, the French Colonel in THE BATTLE OF ALGIERS [1966], nonetheless makes for a fine Pontius Pilate), crucifixion and eventual resurrection are curiously skimped here!
The subplot involving John The Baptist, however, is quite nicely handled; by the way, the only other recognizable face in the cast is that of Tina Aumont (even if her contribution amounts to no more than a few minutes of screen-time!) as the adulteress Christ famously pardons by denouncing her pursuers instead. The score is, once again, by Mario Nascimbene – though it's not as prominent as his work on ACTS OF THE APOSTLES. On the visual side, the film seems closest to the contemporaneous Jesus OF NAZARETH – yet the lyrical style and quiet dignity on display makes of THE MESSIAH a more than worthy companion piece to Pier Paolo Pasolini's aforementioned (and more renowned) THE GOSPEL ACCORDING TO ST. MATTHEW. With this in mind, while perhaps not the definitive film on the subject, it certainly emerges as an underrated achievement – both among the myriad treatments (including those by such great directors as D. W. Griffith, Carl Theodor Dreyer, Cecil B. DeMille and Abel Gance) of Christ's life over the years and in Rossellini's own highly respected canon.

It does a reasonably good job of situating the drama in 5th century Roman Africa, even though the external sets are obviously contemporary (to Rossellini) Roman remains. The interiors are well done and convincing. The drama is dramatic when it needs to be, though there are some lengthy theological discussions, and one does get a sense of the power of St. Augustine's preaching, of the theological disputes of the time and of the tasks of a bishop. The scenes from his life, though limited till his later life, are well chosen to illustrate his character and accomplishments.

Three allied prisoners, a Russian, an American and an Englishman, attempt to escape with the help of a young couple from Rome.

Five portraits of actresses in their "common" life, seen as women rather than movie stars.

在英法百年战争中，圣女贞德带领法国军队对抗英军的入侵，带兵多次打败英格兰的侵略者，然而在贡比涅一次小冲突中贞德被勃艮第公国所俘，不久为英格兰人以重金购去，由英格兰当局控制下的宗教裁判所以异端和女巫罪判处她火刑，在法国鲁昂当众处死。

A Fascist pilot, Lt. Gino Rossati (Massimo Girotti), is flying a bombing run from Italy to Greece in the early spring of 1941. He is shot down by British aircraft and becomes a prisoner of war, first of the British and later the Greeks. In one of the prison camps, he falls in love with Anna (Michela Belmonte), the teenage daughter of an Italian doctor. The film's supervisor and story author, "Tito Silvio Mursino," the screen pseudonym of Vittorio Mussolini, was the son of Italy's Fascist dictator Benito Mussolini.
For the first time I've seen a film by Roberto Rossellini prior to his Neorealist classics, based on a story by il Duce's son, Vittorio Mussolini (credited with the anagram Tito Silvio Mursino). So by its date and origin it may be labeled a "Fascist film", but not surprisingly Rossellini avoids any overt reference to or exaltation of the regime, from a screenplay co-written with Michelangelo Antonioni, among others. At first I thought I was going to see a sort of Italian "Top Gun" as the movie takes around 20 minutes describing the activities of Italian pilots, but soon the airplane of the title hero (Massimo Girotti, the star of Visconti's "Ossessione") is knocked down and he is imprisoned by the British officers. Suddenly the hunter becomes the hunted, and Rossellini elaborates on his belief that personal stories are illustrations of history and politics: the pilot is nothing but a puppet of his country's foreign policy. Rossellini then describes the state of the prisoners, as they endure cold, hunger and disease, and are taken by the British from an old farm to a port in the Mediterranean, while bombs are dropped over roads, fields and bridges, to a patriotic ending (that is revealed by the title). Rossellini tells this story in 85 minutes, with early examples of what Bazin would describe as "image fact": long takes, where the camera moves (including a 360° turn) not to advance the story, but to show the environment, the conditions where the characters interact. Rossellini narrates fast and synthesizes the fable, though his economy was not determined --as in "Romà, citta aperta"-- by the surrounding events (war), showing the development of a style that would grow during the Neorealist movement

An extremely rare film by Roberto Rossellini, his third feature, made under the Fascist control of Italy. Basically rejected after the War because of the Fascist content of the film, "Rossellini produces a work which focuses upon the Italian expeditionary forces on the Eastern Front and upon a Catholic chaplain representative of Italy's religious majority…the principal character's humanity and sacrifice seem to prefigure the good-natured priest of Rome, Open City who works with leftist Resistance leaders…Rossellini underlines the common humanity in Fascist and Bolshevik alike" (Peter Bonadella, Italian Cinema from Neo-Realism to Present).
Made during the fascist years ,this is par excellence a propaganda movie.Roberto Rossellini 's work is sometimes preachy,mainly in the third part,when his hero tries to convince -and succeeds- the Russians that he is no sorcerer and that God loves everyone provided that he redeems his soul and comes back on the right way.The final recalls Jesus's death on the cross,the converted man playing the the good thief's part.Besides ,everybody speaks Italian and that does not help the credibility of the situations.
But Rossellini's genius -which would blossom is such works as " Europa 51" "Roma cita aperta " or " Germano anno zero " occasionally surfaces: except for the opening scenes -one of the first pictures shows doves-,the world depicted in "uomo della croce" is an apocalyptic one,we keep hearing shots during almost the whole movie : overwhelming sequences display a little boy screaming,a woman having her baby as a man is dying near her,while,outside,man's madness knows no bounds.
Man with a Cross was originally released in Italy as L'Uomo della Croce. Evidently, Roberto Rosselini had some difficulty concentrating on this one. He directed the film at the behest of the fascist government, at a time when his thoughts were probably focussed on his long-anticipated (and never-finished) Desiderio. The religious aspects of the plotline tend to be subordinate to the Mussolini party line. Man with a Cross contains next to none of the neorealism of Rossellini's later works

本片分为四个部分，展开了对印度文化、建筑及社会状况之旅。当时的印度社区状况给导演罗西利尼留下了深刻的印象。

此片由意大利海军出资，是罗西里尼“法西斯三部曲”的第一部，其他两部是《飞行员回归》（Un pilota ritorna，1942）和《带十字架的男子》（L'uomo dalla croce，1943）。影片讲述二战期间，一支意大利舰队驶离塔兰托港，在海上与盟军发生战斗，交火中被击中的意军战舰伤员，被转送到医院船“阿诺”号上进行救治

二战时期，退伍意大利军人格里.马尔蒂自称将军，到处招摇撞骗，不料被德国一军官捕获，揭露其身份。格里为保其性命，和德国方面串通假扮已故罗维雷将军潜入集中营搜索情报。其间亲眼目睹及亲身经历了德国人的酷刑拷打，在最终时刻他觉悟，自愿同9名囚犯一并枪决，临终口中呐喊“意大利万岁”。
本片主演维托里奥·德·西卡生于意大利，是二次世界大战后意大利新写实主义复兴中重要导演，而且是一位极具才干与魅力的演员。他的《偷自行车的人》(1948)是对战后意大利劳工阶级生活的深入研究，体现出一种自然风格。他在当时所具有的意义，从历史的观点来说是相当重要的。他早年致力于演戏，一九二三年首次在舞台上作职业性演出，二十年代时是一位相当受欢迎的舞台偶像与歌星。三十年代后，他又兼做导演。1942年导演的《孩子们在看》一片在他的导演生涯中有着重大的意义，被称为意大利新写实电影的先驱作品，其价值十分崇高。他的片子几乎都由查萨特尼编剧。他是意大利名副其实的影坛巨匠。
本片导演罗伯特·罗西里尼是意大利新现实主义电影大师，与朱赛普· 德·桑蒂斯、卢切诺·维斯康蒂、维托里奥·德·西卡同被誉为意大利新现实主义电影的四大主将。1945年对于罗西里尼来说是最值得骄傲的一年，他成功拍摄了《罗马，不设防的城市》。1949年，罗西里尼认识了演员英格丽·褒曼，双双坠入爱河。
他们的女儿伊莎贝拉·罗西里尼曾经出现在50个国家的500种杂志封面的名模。1985年，因为参演《飞越苏联》（White Nights，1985）而正式打入美国影坛，次年在《蓝丝绒》（Blue Velvet，1986）的大胆演出更轰动一时，自此成为好莱坞的一员，曾与名导演马丁·斯科塞斯（Martin Scorsese）有过四年的婚姻，如今则与演员加里·奥德曼（Gary Oldman）在一起。

四位不同导演拍摄的四部短片，讲述现代生活的原则。

1661年，在法国执掌大权的马萨林主教生命垂危，年轻的路易十四决定亲自掌权，他依仗马萨林的得力助手科尔贝，排挤了利欲熏心、依仗太后势力的总监福凯，把所有的权力集中到了自己一人手中，并开始修建宏大的凡尔赛宫，为的是控制贵族，并营造欧洲历史上史无前例的“太阳王”形象。

本片为电视电影，记述了法国哲学家笛卡尔（1596—1650）的杰出一生。

故事发生在第二次世界大战结束之际，位于西西里的一座小镇中，居民们都沉浸在热烈的庆典气氛里，借着这个空档，魔鬼乔装打扮混入其中，来到了镇上照相馆主人切雷斯提诺（
Gennaro Pisano 饰）的家中，要求借住，善良的切雷斯提诺接待了他。魔鬼在切雷斯提诺店里的一台照相机 上施了法术，所有被这台照相机拍摄到的人都将死亡。
发现了这一秘密的切雷斯提诺既害怕又兴奋，他将这个秘密告诉了镇上的神父和镇长，可是没有人愿意相信他所言，甚至认为他已经疯了。连连遭到否定和嘲笑，切雷斯提诺的内心渐渐黑化，他发现，这台相机可以帮助自己“惩恶扬善”。

德国著名科学家阿尔伯特·瓦格纳教授的妻子艾琳·瓦格纳（Irene Wagner）一直与埃里希·鲍曼（Erich Baumann）有染。她没有向丈夫透露这件事，希望能保住他的清白和他们的“完美婚姻”。这让她充满了焦虑和内疚。然而，埃里希嫉妒的前女友约翰娜·舒尔茨得知此事后，开始勒索艾琳，将艾琳的心理折磨变成了残酷的现实