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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(dòng)，盡管這四個(gè)人沒有任何經(jīng)驗(yàn)。隨著事件錯(cuò)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(dòng)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(dòng)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恕Ｒ驗(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(dòng)，盡管這四個(gè)人沒有任何經(jīng)驗(yàn)。隨著事件錯(cuò)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(dòng)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(dòng)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：Isabelle Weingarten Guillaume des F
導(dǎo)演：羅伯特·布列松
語言：法語
年代：未知
簡介：年輕的畫家雅克從鄉(xiāng)間搭車前往巴黎。在到達(dá)巴黎的那個(gè)夜晚，他偶遇了正想投河自殺的瑪爾特。雅克救下了她，并陪她回家，他們相約轉(zhuǎn)天晚上再見面。第二個(gè)夜晚，雅克和瑪爾特交換了彼此的人生故事，在瑪爾特的請求下，雅克成了瑪爾特和她情人間的信使。然而，那位絕情的情人并沒回信，這讓瑪爾特非常失落。在接下來的兩個(gè)夜晚，雅克對瑪爾特的衷情終于得到回應(yīng)，瑪爾特也向雅克傾訴了愛意。第四個(gè)夜晚，正當(dāng)兩人挽手同行時(shí)，他們偶遇了瑪爾特原來的情人…… 本片改編自費(fèi)奧多爾·陀思妥耶夫斯基的短篇小說《白夜》。
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.
備注：已完結(jié)
類型：愛情片
主演：赫伯特·巴尚 LucSimon LauraDukeCondominas
導(dǎo)演：羅伯特·布列松
語言：法語
年代：未知
簡介：故事發(fā)生在尋找圣杯的最后幾天，當(dāng)亞瑟王的武士們策馬穿過一片充滿黑暗、險(xiǎn)象環(huán)生的叢林，一無所獲回到卡默洛特（亞瑟王的宮殿）后，他們的隊(duì)伍被解散，士氣頓失。在他們中間，一位名為蘭斯洛特的武士，對此次失敗感到深深自責(zé)。他認(rèn)為正是他和格溫娜維爾皇后的偷情摧毀了這次神圣的使命。失敗的陰影籠罩著一切，輝煌華麗的宮廷呈現(xiàn)出一個(gè)即將結(jié)束的年代的衰敗氣象。
