在未来，因为战争和资源的枯竭，建立在石油之上的工业社会陷入崩溃，人们为了汽油展开生死争夺，这是恐怖如地狱的末世景象。失去了朋友和亲人的麦克斯（梅尔·吉布森 Mel Gibson 饰）以车为家，继续和公路骑士们无休无止的战斗。然而因为他的V8失去燃料，麦克斯只得离开公路，在一个陷阱猎手的指引下，前往一处石油钻井寻找燃料。荒漠中的人们，为了保卫钻井，建立了防御设施对抗骑士休曼格斯一伙，麦克斯从骑士们手中救出了一位奄奄一息的钻井保卫者，结果反被钻井守卫者们扣留，而此时，休曼格斯率领手下将钻井团团包围，危急关头，麦克斯设计对抗休曼格斯……

讲述了丹尼尔博士是一个成功的脑外科医生，他即将和自己的生活伴侣阿拉纳搬到美国，在那里他接受了一份教授职位。但就在他们即将离开时，丹尼尔的哥哥卷入一场悲惨的摩托车事故而被带到医院救治，丹尼尔坚持领导操作。然而他的哥哥最终死在了手术室里，这带给了丹尼尔沉重的打击。由于无法接受哥哥的离世，丹尼尔在内疚之下做出了偏激的决定，他停止行医，甚至中断与阿拉纳的交往。他想逃避，因此需要离开柏林一段时间，去寻找教授亚历山大，一个与父亲一样的朋友，他住在萨尔茨堡附近的山区里。在那里，他见到了仪，高山诊所的继承人，和她的儿子弗雷德里克。在仪的父亲去世后，她就已经制定了医院的未来和目前的战斗计划，将其转换成保健及美容水疗医院。仪决心维持其运作，以患者康复护理医院为理想，她准备去争取她的成功。这一天仪见到丹尼尔她相信她找到了适合她医院的医生，但丹尼尔决定停止行医。另外阿拉纳似...

讲述了丹尼尔博士是一个成功的脑外科医生，他即将和自己的生活伴侣阿拉纳搬到美国，在那里他接受了一份教授职位。但就在他们即将离开时，丹尼尔的哥哥卷入一场悲惨的摩托车事故而被带到医院救治，丹尼尔坚持领导操作。然而他的哥哥最终死在了手术室里，这带给了丹尼尔沉重的打击。由于无法接受哥哥的离世，丹尼尔在内疚之下做出了偏激的决定，他停止行医，甚至中断与阿拉纳的交往。他想逃避，因此需要离开柏林一段时间，去寻找教授亚历山大，一个与父亲一样的朋友，他住在萨尔茨堡附近的山区里。在那里，他见到了仪，高山诊所的继承人，和她的儿子弗雷德里克。在仪的父亲去世后，她就已经制定了医院的未来和目前的战斗计划，将其转换成保健及美容水疗医院。仪决心维持其运作，以患者康复护理医院为理想，她准备去争取她的成功。这一天仪见到丹尼尔她相信她找到了适合她医院的医生，但丹尼尔决定停止行医。另外阿拉纳似...

马特是一位有影响力的人，也是新生儿朱利叶斯的年轻父母，他从他精神错乱的父亲的过去中发现了一个黑暗的秘密。他开始深入调查，结果打开了潘多拉的秘密盒子，揭开了比预期更多的家庭戏剧。马特的妻子丽芙(Liv)非常关心他，她会尽一切努力不失去他，但现在太晚了吗

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special effects experts and 9 cameramen were involved in the production of this film which combines documentary scenes, historical documents, fiction elements, animation scenes and educational impact.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.