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Wunder der Schöpfung is an extraordinary, fascinating Kulturfilm trying to explain the whole human knowledge of the 1920s about the world and the universe. 15 special effects experts and 9 cameramen were involved in the production of this film which combines documentary scenes, historical documents, fiction elements, animation scenes and educational impact. It its beautifully colored, using tinting and toning in a very elaborated way. Some visual ideas in the sequences with a space shuttle visiting different planets in the universe seem to have to be the inspiration for Stanley Kubrick's 2001 A Space Odyssey.  In the context of Germany's Kulturfilm phenomenon, Wunder der Schöpfung was among the greatest achievements of the 1920s. The production was constructed, rehearsed, and shot over a period of two and a half years, under the supervision of Hanns Walter Kornblum. The idea to describe the universe and man's place in it well suited UFA's Grossfilm mentality, one year before the Metropolis catastrophe. Hundreds of skilled craftsmen participated in the project, building props and constructing scale models drawn by 15 special effects draughtsmen, while 9 cameramen in separate units worked on the historical, documentary, fiction, animation, and science-fiction sequences. Without star roles or even protagonists, the film's plot is crowded with meticulously structured and skillfully acted single scenes an artful mosaic of small vignettes. No less than four credited university professors ensured the factual background behind the scientific and historical events portrayed.  The film's symbol of progress and the new scientific era is a spacecraft, travelling through the Milky Way, making all the planets and their inspiring worlds familiar to us, with the extravaganza of their distinctive features. The film's educational intentions, however, become steadily more obscure, humorous, or even campy as this popularization project proceeds. With the excuse of presenting the end of the world a not-so-new concept as a new, undeniably scientific truth, the film veers happily along a new path, displaying detailed apocalyptic scenes of the end of mankind. For today's audiences, this amazing film demonstrates how the universe was comprehended in the 1920s, and how that view was sold to contemporary audiences.
17岁的Jack,17岁的Lisa,10岁的Mathis,突然变成了孤儿。而他们每个人都在用自己的方法去应对这场突如其来的家庭灾难。
一个时尚编辑和一个模特儿到另一座城市出差,两人各自发生艳遇,但春梦一觉醒来,才得见内心的惶恐。上世纪50年代的伯格曼作品经常有强迫深刻的意味,如本片对女性梦想、痛苦、挣扎等跟男人的关系作了探讨,虽然是部讽刺喜剧,但有一种焦距不准的模糊。
一对儿情侣本打算要度过一个浪漫假期,却不料被一股邪恶力量带入深渊.....
该剧根据1996年前FBI探员约翰·道格拉斯(JohnDouglas)和马克·欧夏克(Mark Olshaker)的著作《心理神探:美国联邦调查局系列犯罪破案揭秘》(MindHunter Inside the FBI's Elite Serial Crime Unit)改编。退休后的道格拉斯深入研究犯罪心理学,美剧《汉尼拔》(Hannibal)和《犯罪心理》(CriminalMinds)中的角色刻画也参考了书中的很多案例。
《斯巴达克斯:竞技场之神》(Spartacus God of Arena)实际上就是《斯巴达克斯:血与沙》(Spartacus Blood And Sand)的前传,在这个Batiatus家族崛起的故事中,Lucy Lawless和John Hannah成为人们关注的焦点,他们在Spartacus成为被俘的色雷斯奴隶前就已经是Batiatus家族的优胜者
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