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備注：已完結(jié)
類型：劇情片
主演：Luca Zingaretti Dino Abbrescia Brun
語言：其它
年代：未知
簡介：富有的工業(yè)家丹蒂·比拉迪內(nèi)里離開工廠時(shí)在女兒面前被綁架。鑒于綁匪的兇殘本性，長官們要求萬利瑞奧指揮的特種部隊(duì)參與營救。也因此將患有嚴(yán)重心臟病的七歲女孩史戴拉和他的父親分開了。父親有一次讓女兒失望，因?yàn)楣ぷ饕笥植荒芘闩畠毫?。因?yàn)檫@次任務(wù)，萬利瑞奧不得不從最勇敢的戰(zhàn)士中選出最勇敢的四個(gè)人和他一起參加行動，盡管這四個(gè)人沒有任何經(jīng)驗(yàn)。隨著事件錯綜復(fù)雜的不斷發(fā)展，綁匪似乎越來越貪婪，他們不斷撕毀協(xié)議，給警方采取最后行動制造困難。 萬利瑞奧的內(nèi)心在責(zé)任感和重病中的女兒之間斗爭著，最后他決定把工作放在第二位，回到病床上女兒的身邊。就在這時(shí)，小組中的每一個(gè)成員都發(fā)現(xiàn)他們不得不在個(gè)人問題和共同的任務(wù)之間做出抉擇。行動已經(jīng)開始，不到最后決戰(zhàn)不會停止。所有的人物命運(yùn)最終都將發(fā)生改變。小組成員們從最初的勾心斗角變成現(xiàn)在敢于冒生命危險(xiǎn)的團(tuán)結(jié)的整體，而史戴拉。。。
備注：已完結(jié)
類型：劇情片
主演：盧卡·津加雷蒂 Dino Abbrescia 馬可·科奇
語言：英語
年代：未知
簡介：富有的工業(yè)家丹蒂·比拉迪內(nèi)里離開工廠時(shí)在女兒面前被綁eee。鑒于綁匪的兇殘本性，長官們要求萬利瑞奧指揮的特種部隊(duì)參與營救。也因此將患有嚴(yán)重心臟病的七歲女孩史戴拉和他的父親分開了。父親又一次讓女兒失望，因?yàn)楣ぷ饕笥植荒芘闩畠毫?。因?yàn)檫@次任務(wù)，萬利瑞奧不得不從最勇敢的戰(zhàn)士中選出最勇敢的四個(gè)人和他一起參加行動，盡管這四個(gè)人沒有任何經(jīng)驗(yàn)。隨著事件錯綜復(fù)雜的不斷發(fā)展，綁匪似乎越來越貪婪，他們不斷撕毀協(xié)議，給警方采取最后行動制造困難。r萬利瑞奧的內(nèi)心在責(zé)任感和重病中的女兒之間斗爭著，最后他決定把工作放在第二位，回到病床上女兒的身邊。就在這時(shí)，小組中的每一個(gè)成員都發(fā)現(xiàn)他們不得不在個(gè)人問題和共同的任務(wù)之間做出抉擇。行動已經(jīng)開始，不到最后決戰(zhàn)不會停止。所有的人物命運(yùn)最終都將發(fā)生改變。小組成員們從最初的勾心斗角變成現(xiàn)在敢于冒生命危險(xiǎn)的團(tuán)結(jié)的整體，而史戴拉也挺過了醫(yī)院的手術(shù)，她將重新建立對父親的信任。
備注：已完結(jié)
類型：劇情片
主演：譚芳玲 ThanhDuyIdol 阮清秀
導(dǎo)演：RolandNguyenNhan
語言：越南語
年代：未知
簡介：引起全國關(guān)注的網(wǎng)美直播自殺案，在找不出前因後果的情況下以自殺結(jié)案。然而不為人所知的是，這些疑似自殺案都有一處共同點(diǎn)—她們的死亡前都在社群網(wǎng)站上收到名為「夢人」的好友邀請並且按下接受。事件過後某天，一名男子也開始收到了「夢人」的好友邀請……
備注：已完結(jié)
類型：劇情片
主演：巴里·基奧恩 Dean Christie Grace Hogg-Rob
語言：英語
年代：未知
簡介：Jasmine, a young teenage girl on the run, is taken in by Shane, a showman who works on a travelling fairground passing through town. As an unorthodox bond between the pair builds, their combined quest to evade the past pushes both characters closer together, and in turn, closer to danger.
備注：已完結(jié)
類型：劇情片
主演：邁克爾·波倫 弗蘭西斯·麥克多蒙德
導(dǎo)演：Michael Schwarz Edward Gray
語言：英語
年代：未知
簡介：《植物的欲望》改編自邁克爾·普蘭（Michael Pollan）的同名著作。 本片講述了四種日常生活中常見的植物以及它們?nèi)绾巫屓祟愊矚g它們的故事。1983年，邁克爾·普蘭與他的妻子離開紐約城，到一個(gè)被遺棄的奶牛場定居。普蘭幼時(shí)一直對園藝十分著迷，再加上他對自己把握自然的能力深信不疑，他開始開墾自己的花園。那時(shí)的他還不知道這一行動最終促使他開始重新思考人與植物的關(guān)系，也成就了他的《植物的欲望》這本書成為書架上的暢銷貨。本片將帶領(lǐng)觀眾走遍全世界，從位于秘魯和美國愛達(dá)荷州的馬鈴薯菜園到哈薩克的蘋果林，從阿姆斯特丹的郁金香市場到美國的醫(yī)用大麻的培養(yǎng)室，探尋馬鈴薯、蘋果、郁金香以及大麻的自然史，得出結(jié)論：人類對它們的渴望使它們的命運(yùn)與我們息息相關(guān)。本片由邁克爾·施瓦茨（Michael Schwarz）執(zhí)導(dǎo)。
備注：已完結(jié)
類型：劇情片
主演：伊恩·夏普 Gina Bramhill 里克·沃登 Nicholas
語言：英語
年代：未知
簡介：A mysterious man, Dean, returns to his hometown of Grimsby after many years abroad in the Army. His arrival is met with animosity, particularly from his father, an avid pigeon racer. Dean is drawn back to confront his demons, and confess a secret to a childhood friend, Jess, only to discover she has been struggling since the untimely death of her husband. Whilst attempting to raise her child and battling a crumbling economy and dearth of opportunities, she is pulled into a harsh underworld. Dean must help her, throw her a lifeline, but the situation only darkens. When their lives are threatened he will do all it takes to make sure she is safe.
備注：已完結(jié)
類型：劇情片
主演：Román Méndez de Hevia Emilio Menche
導(dǎo)演：Iván Fernández de Córdoba
語言：其它
年代：未知
簡介：Alonso is a skater who goes across Spain with the skate as his only means of transport. The road will force him to cross with characters that will change his life and they will discover the reason why Alonso does this curious and strange trip.
備注：已完結(jié)
類型：喜劇片
主演：馬丁·勞倫斯 詹姆斯·厄爾·瓊斯 瑪格麗特·艾弗瑞 喬伊·布賴恩特 塞
導(dǎo)演：馬爾科姆·D·李
語言：英語
年代：未知
簡介：史蒂文斯（馬丁·勞倫斯 Martin Lawrence 飾）是目前大眾視野中最當(dāng)紅的脫口秀明星，他的成功學(xué)演講激勵了無數(shù)深陷泥潭的年輕人們，引導(dǎo)著他們重新找回了人生的方向。實(shí)際上，史蒂文斯擁有著卑微的過去，在他的故鄉(xiāng)，一座名為“旱泉”的小鎮(zhèn)里，年幼的史蒂文斯，是鄰里鄉(xiāng)親們嘲笑和欺負(fù)的對象?！ ∈返傥乃箾Q定返鄉(xiāng)參加父母的五十周年結(jié)婚紀(jì)念日，其主要目的是要讓守在家鄉(xiāng)故步自封的鄉(xiāng)親們見識見識，自己再也不是過去那個(gè)什么也不是的窮小子了。然而，現(xiàn)實(shí)是殘酷而又令人尷尬的，無論史蒂文斯走得多遠(yuǎn)，爬得多高，只要一回到家鄉(xiāng)，他依然什么都不是。但與此同時(shí)，史蒂文斯卻又感受到了濃濃的故鄉(xiāng)之情。
備注：已完結(jié)
類型：喜劇片
主演：MichaelDixonAndrewHarwoodMillsDorse
導(dǎo)演：GaryDelaney
語言：英語
年代：未知
簡介：上班族德里克一直對橄欖球情有獨(dú)鐘，當(dāng)他得知美式橄欖球正在英國嶄露頭角時(shí)興奮之情溢于言表，他甚至想去五六十公里外的曼徹斯特參加球員選拔。但女友對比頗為不理解，認(rèn)定這是德里克背棄二人共同夢想的自私行為。不過，這并沒有影響德里克對橄欖球的執(zhí)著，為了能打橄欖球他開始奔波忙碌。不能參加其他球隊(duì)，他就自己組建球隊(duì)。這種運(yùn)動精神吸引了很多同樣熱愛這項(xiàng)運(yùn)動的朋友們加入。在德里克的帶領(lǐng)下，他們招攬球員，購置服裝，組建拉拉隊(duì)，鐵路捍衛(wèi)者隊(duì)誕生了。為了球隊(duì)的發(fā)展，他們想盡一切辦法去請專業(yè)的美國教練。教練詹姆斯·杜邦的加入讓這支球隊(duì)活力滿滿。但隨著人員增多，球隊(duì)開銷也在不斷增加，德里克因此背上了債務(wù)。正在躊躇苦惱之際，德里克心生一計(jì)，舉辦橄欖球比賽，收取門票。雖然門票計(jì)劃意外泡湯，但德里克實(shí)現(xiàn)了自己的橄欖球之夢。
備注：已完結(jié)
類型：劇情片
主演：Artúr Somlay Miklós Gábor Zsuzsa Bá
語言：其它
年代：未知
簡介：Somewhere in the remote region, the war ends. In the midst of ruined cities and houses in the streets, in rural hamlets, everywhere where people still live, are children who have lost their homes and parents. Abandoned, hungry, and in rags, defenseless and humiliated, they wander through the world. Hunger drives them. Little streams of orphans merge into a river which rushes forward and submerges everything in its path. The children do not know any feeling; they know only the world of their enemies. They fight, steal, struggle for a mouthful of food, and violence is merely a means to get it. A gang led by Cahoun finds a refuge in an abandoned castle and encounters an old composer who has voluntarily retired into solitude from a world of hatred, treason, and crime. How can they find a common ground, how can they become mutual friends The castle becomes their hiding place but possibly it will also be their first home which they may organize and must defend. But even for this, the price will be very high. To this simple story, the journalist, writer, poet, scriptwriter, movie director, and film theoretician Béla Balázs applied many years of experience. He and the director Géza Radványi created a work which opened a new postwar chapter in Hungarian film. Surprisingly, this film has not lost any of its impact over the years, especially on a profound philosophical level. That is to say, it is not merely a movie about war; it is not important in what location and in what period of time it takes place. It is a story outside of time about the joyless fate of children who pay dearly for the cruel war games of adults. At the time it was premiered, the movie was enthusiastically received by the critics. The main roles were taken by streetwise boys of a children's group who created their roles improvisationally in close contact with a few professional actors, and in the children's acting their own fresh experience of war's turmoil appears to be reflected. At the same time, their performance fits admirably into the mosaic of a very complex movie language. Balázs's influence revealed itself, above all, in the introductory sequences an air raid on an amusement park, seen in a montage of dramatic situations evoking the last spasms of war, where, undoubtedly, we discern the influence of classical Soviet cinematography. Shooting, the boy's escape, the locomotive's wheels, the shadows of soldiers with submachine guns, the sound of a whistle—the images are linked together in abrupt sequences in which varying shots and expressive sharp sounds are emphasized. A perfectly planned screenplay avoided all elements of sentimentality, time-worn stereotypes of wronged children, romanticism and cheap simplification. The authors succeeded in bridging the perilous dramatic abyss of the metamorphosis of a children's community. Their telling of the story (the scene of pillaging, the assault on the castle, etc) independently introduced some neorealist elements which, at that time, were being propagated in Italy by De Sica, Rossellini, and other film artists. The rebukes of contemporary critics, who called attention to formalism for its own sake have been forgotten. The masterly art of cameraman Barnabás Hegyi gives vitality to the poetic images. His angle shots of the children, his composition of scenes in the castle interior, are a living document of the times, and underline the atmosphere and the characters of the protagonists. The success of the picture was also enhanced by the musical art of composer Dénes Buday who, in tense situations, inserted the theme of the Marseilaise into the movie's structure, as a motive of community unification, as an expression of friendship and the possibility of understanding. Valahol Europaban is the first significant postwar Hungarian film. It originated in a relaxed atmosphere, replete with joy and euphoria, and it includes these elements in order to demonstrate the strength of humanism, tolerance, and friendship. It represents a general condemnation of war anywhere in the world, in any form.
