我们疯狂的憨豆先生（罗温•艾金森 Rowan Atkinson 饰）又来了！这次，我们的憨豆先生在英国一间画廊工作。画廊里的一副传世珍品被美国国家博物馆买走了，憨豆先生所在博物馆要派出一名专家运送这副画到美国。阴差阳错之下，这个专家就由憨豆先生担任了。 飞过古板的英国， 憨豆先生来到了美国。美国国家博物馆的馆长盛情接待了憨豆，在保险库里，憨豆得以独自一人欣赏名作。正当憨豆洋洋得意地近距离观赏名画之时，憨豆一个喷嚏把口水鼻涕都喷在了这副油画上！眼看油画的色彩开始随着自己的口水四处横流，憨豆慌忙之下拿起抹布想把自己的口水擦干。这一下，这副珍品彻底毁了！憨豆最后会否因为毁坏名画而被关进监狱？
本片是特吕弗著名的“安托万系列”的第三部，但影迷通常忽视短片《Antoine et Colette》误将其认作第二部。 23岁的Antoine Doinel（Jean-Pierre Léaud 让-皮埃尔•李奥）从军队逃出后，虽侥幸逃脱惩罚，却因殴打警察入狱，不良记录对他找工作造成妨碍，他先后做过旅店守门人、私家侦探等职业。过程中，Antoine重又邂逅Colette（Marie-France Pisier），Colette已同男友分手，两人玩起亲密有时疏离有时的游戏，而按客户要求混进一家鞋店盯梢风情万种的老板娘时，他又将其迷上，感情的天平开始在两个女人之间摇摆。
Sebastian, a young man, has decided to follow instructions intended for someone else, without knowing where they will take him. Something else he does not know is that Gerard Dorez, a cop on a knife-edge, is tailing him. When he reaches his destination, Sebastian falls into a degenerate, clandestine world of mental chaos behind closed doors in which men gamble on the lives of others men.
Trouble ensues when a motorcycle gang stops in a small southern town while heading to the races at Daytona.
载邱和顺英夫妇在苍蝇乱飞的国道边上经营一家汽修中心，有一天爆胎车辆陡增，载邱得知是来往附近工地的卡车掉落的金属块所致，载邱看着落地的金属块、爆掉的轮胎以及兜里的纸币，突然便开始有了一个异想天开的怪计划。
载邱按照计划在路上撒上金属块，故意制造了爆胎，爆胎车辆在汽修中心大排长龙，载邱也开始尝到了赚钱的滋味。发现丈夫这一奇怪招数的顺英一开始还出口劝阻，但在金钱的力量下也积极加入，甚至提议在马路上钉钉子......
夫妻二人的一场生计型犯罪计划便在深夜拉开帷幕。
Pat & Mat are back with new adventures. In Buurman & Buurman build a house, the popular Buurmannen come up with new brilliant solutions for the everyday problems they encounter.
Set in a toy store specialized in antique toys, a boy works in the toy store and is obsessed with tin toys. There's one particular tin toy he loves more than the rest. In walks a girl wearing shades, and starts telling her own story, a weird and fascinating experience she had with a toy.
All of a sudden. the clock stops to work…
Worldy renowned for his masterpiece The Housemaid (1960), Kim Ki-young debuts with his first short film I Am a Truck (1953), which was sponsored by UN and made a year after the armistice of the Korean War. This film is a fascinating glimpse into the mind of a soon-to-be powerful auteur and influential filmmaker in the post-war Korean cinema, if not the whole history of Korean cinema.