《为爱乘风破浪》是Massimiliano Camaiti执导，文森佐·阿马托、唐娜提拉·芬诺恰罗、科拉多·因韦尔尼齐主演的电影，于2021年2月26日在意大利上映。 [1]一段沐浴在西西里阳光下的夏日恋情很快变为一段心碎的爱情故事，并迫使少年和少女迅速长大.萨拉喜欢航海，并在法维尼亚纳的一个俱乐部度过了假期。在那里，他遇到了洛伦佐（Lorenzo），洛伦佐最近晋升为教练，对竞技帆船运动充满希望。那个毫不犹豫地跳过篝火的勇敢女孩和那个具有非凡体育天赋的冒险男孩之间立即产生了吸引力。在法维尼亚纳的停留结束后，两人发现自己身处巴勒莫，无法将彼此分开。但萨拉隐藏了一个秘密：三年前，她被诊断出患有退行性疾病，这种疾病改变了她和她父母的生活。她不知道自己是否可以沉迷于与洛伦佐的爱情故事。萨拉和洛伦佐相遇并立即坠入爱河。他是年轻的帆船教练，她是最顽固的学生。对于他们俩来说，这是他们的初恋，但一旦他们回到巴勒莫的家，魔法似乎就结束了。莎拉出人意料地变得难以捉摸，当莎拉的肌肉营养不良症恶化时，洛伦佐发现她隐藏着一个秘密。航海之旅是她最后的无忧无虑的时刻……如果一切都很快就要结束，那么继续维持对洛伦佐的爱还有什么意义呢？十七岁的洛伦佐是帆船中心最年轻的教练之一，该中心按地区举办帆船赛。学生中还有十六岁的萨拉。第一眼，两人就会立刻注意到对方，一种不可避免的吸引力就会诞生：这将是他们真正的初恋。课程结束后，洛伦佐和萨拉将在巴勒莫再次见面，但那里似乎发生了一些变化。女孩变得难以捉摸，仿佛她对自己与……的关系不再那么感兴趣了。

阿根廷恐怖片。布宜诺斯艾利斯的一个社区发生了离奇事件，一名专研超自然的博士和她的同事以及一名警官决定深入调查。

巴尔干某城市边缘的茨冈村落里，小伙子贝汉（Davor Dujmovic 饰）与外婆一家四口生活在一起，嗜赌的舅舅梅尔桑每次输光后就开始怀念在德国的生活，妹妹的腿疾因无钱而得不到救治。贝汉与同村的阿兹娜相恋，但对方母亲嫌弃贝汉一家贫穷坚决回绝。长年在意大利赚钱的族长阿梅德回到村子，在赌桌上让梅尔桑输到丧失理智，毁掉了自家人的木屋。但外婆却用巫术救回了阿梅德的孩子，为表谢意，阿梅德答应带妹妹出国治病，并让身怀隔空移动小铁器特异功能的贝汉随行。贝汉很快发现阿梅德不过是利用儿童乞讨盗窃的团伙头子，但已无力摆脱只得随顺，不久阿梅德患病，将小团伙交予贝汉管理，贝汉摇身一变成为有钱人，遂回乡将阿兹娜接到米兰，但阿兹娜腹中的骨肉让贝汉大为光火，坚持要将孩子卖掉…… 本片获1989年戛纳电影节最佳导演奖。

This utterly gorgeous Gothic melodrama would be widely hailed as a masterpiece, had it not been made in Italy during the Mussolini regime. A gross injustice, as Malombra - unlike Piccolo Mondo Antico, Mario Soldati's earlier film of an Antonio Fogazzaro novel - contains not one moment of triumphalist flag-waving or Fascist family values. Oddly akin to Rebecca in its atmosphere of death-haunted romance and voluptuous doom, it reaches a peak of visual refinement of which Hitchcock could only dream.　　Its star is Isa Miranda (famous, and not without reason, as Italy's answer to Garbo and Dietrich) playing a headstrong but unstable young noblewoman, confined by her uncle to a gloomy villa on the shores of Lake Como. A yellowed and crumbling letter, found in an old spinet, convinces her that she is the reincarnation of her uncle's first wife - another troubled beauty who died a virtual prisoner after being caught in a forbidden love affair. When a handsome young writer (Andrea Checchi) comes to stay, Miranda decides that HE is the reincarnation of the dead woman's lover. Gradually, she lures him into her web of sex and revenge...　　What more to say without spoiling the fun Miranda gives a performance to rival any of the great divas of Hollywood. Only Davis and Stanwyck, perhaps, could play a bad girl so boldly without losing all sympathy. The evocation of 19th century aristocracy, in its full decadent splendour, is visually and dramatically flawless - a model for such later Italian gems as Visconti's Senso and The Innocent.　　It helped, perhaps, that Soldati himself was a leading novelist. Blessed with an absolute respect for the classics he adapted, but in no way inhibited by them. He was also the guiding spirit of the now-forgotten 'calligraphic' movement, which brought the Italian cinema to such wondrous aesthetic heights during World War Two, only to collapse before the horror of Neo-Realism. Can we blame Soldati for giving up film-making in disgust and going back to writing novels　　So if you've ever felt (as I do) that Rossellini's much-touted Rome - Open City is the work of an amateur...well, Malombra is the film you have to see!