介绍：While waiting for their bus, five passengers have just had horrible nightmares and decide to tell them to each other to help killing time. A swimmer, who has lessons in a swimming pool with a dead swimmer, tells the first one. A young boy, who goes camping with two friends and a crazy man as a leader, is the next. Then, a lonely woman, who has an infatuation with the anchor of a late night show, and finds that he is indeed a vampire. A young man, who finds he has the gift of bringing dead people back to life, brings a cold blood criminal back to life. Last, a skeptic professor of anthropology tells to his students about an evil Spanish creature from the Middle Ages called "Ixpe", and a young woman embodies it. When the bus arrives, they have a huge surprise

介绍：高速公路：琵姆是高速公路收费站夜班收费员。凌晨三点钟在她当值的时候，一股邪恶力量正在威胁她的生命。 一夜情：谭是一个绘画修复者，喜欢参加各种派对和夜店。一天，谭遇见了一个神秘、性感的女人娜潘，并对她一见钟情。第二天凌晨三点钟，他找到娜潘并跟随她到她家。这个女人究竟是谁？ 电视直销：山姆是一档电视购物节目的导演。他的组员和主持人打算合伙捉弄他。他们密谋了一系列奇异的事件，想要报复一下这个自大的导演。凌晨三点钟，导演助理欧接到了山姆女朋友的电话，她打电话来是告诉他，山姆在来电视台的路上出车祸死了。欧试图把这个消息告诉组员们，但是没人相信他的话。这时，所有灯瞬间熄灭，恶作剧开始了…

介绍：在苏丹的美国记者面临进退两难的选择，到底是要回国报道他们所看到的暴行，还是留下来帮助他们遇到的受害者呢？(译:sky200700) 苏丹达尔富尔(Darfur)地区位于苏丹西部，与乍得接壤，面积约占全国总面积的五分之一。这里地势较高，降雨量多，自然条件仅次于苏丹南部和尼罗河沿岸，蕴藏的石油等自然资源也有待开发。约有80个部族生活在达尔富尔地区，错综复杂的种族和宗教矛盾导致这一地区的暴力冲突持续不断，信奉伊斯兰教的阿拉伯居民与信奉基督教和原始宗教的黑人居民经常发生武装冲突

介绍：七个高中朋友相约来到一个古堡里，他们把灵魂出卖给了500年前的魔鬼，然后他们陷入了一场血腥的厮杀..

介绍：《阿拉亚》是委内瑞拉传奇女导演玛戈·贝纳塞拉芙唯一一部纪录长片，它在拉美影史上占有相当重要的位置，是委内瑞拉民主后第一部获得国际声誉的电影，当年在嘎纳它与阿伦·雷奈的《广岛之恋》共同分享了国际评论家奖，也都获金棕榈提名却最终未果，尽管名气不如《广岛之恋》和《黑人奥菲尔》那么大，但在专业人士眼中此片一直都是研究拉美女性电影所必修的经典，影片出色的摄影时常被人们所赞美，是与卡拉托佐夫的《我是古巴》齐名的诗意电影杰作，法国著名导演让·雷诺阿在看过影片后称赞《阿拉亚》是他所见过最完美的纪录片之一。贝纳塞拉芙就像是委内瑞拉影坛的特吕弗和亨利·朗格鲁瓦，她不仅是第一位毕业于巴黎电影学院（IDHEC）的拉美导演，而且在1966年创办了委内瑞拉电影资料馆，虽然由于资金短缺问题，她个人的导演生涯并不顺利，作品也很少，但却为新委内瑞拉电影的发展成立基金会，并曾获得世界各国的无数荣誉和勋章。 转自AUESS的博客资料（http://blog.sina.com.cn/s/blog_497f6a250100cxm0.html） Shown at Cannes in 1959, the year after Venezuela's last dictator Marcos Perez-Jimenez was overthrown, the documentary inadvertently highlights the kind of exploitation of the poor that can lead to rebellion. While the dictator escaped to Miami with $13 million, salt workers were piling up mounds of salt on the flat sands, making barely enough money to keep them in arepas and black beans. Between the hot, tropical climate and the sores on their feet, the job these workers do every day is excruciating. Yet the lives of the fishermen and salt workers in this documentary are shown in the context of planned, upscale development, something of a disservice to the larger picture. With not much making a great impression thus far at the Berlinale, Margot Benacerraf's lovely documentary Araya comes as a breath of fresh air from 1959. Reminiscent of Agnes Varda's debut film La Pointe-courte (1954) in its artful but somewhat ambivilant attitude towards filming a local community and their work clearly admired by the filmmakers, Benacerraf's film focuses on the inhabitants of Araya, a desolate area in Venezuela subsiding through a long history on the wealth of its great salt marshes. Araya was originally compared to Flaherty's Man of Aran, Visconti's La Terra Trema (1947) and Rossellini's India (1957). Margot Benacerraf has described the film as "a cinematic narration based on script writing rather than a spontaneous action, a feature documentary, the opposite of Italian neorealism"