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備注：已完結(jié)
類型：劇情片
主演：尼娜·霍斯 茱莉安·柯勒 奧古斯特·迪赫 葉甫根尼·希迪金 伊爾姆·赫
導(dǎo)演：馬克斯·法貝爾布克
語(yǔ)言：其它
年代：未知
簡(jiǎn)介：1945年，第二次世界大戰(zhàn)接近尾聲。第三帝國(guó)的心臟柏林在盟軍的猛烈攻勢(shì)下已化作廢墟，在短暫的交火之后，成千上萬(wàn)的蘇聯(lián)士兵涌入這座頹敗之城。躲在掩體下的德國(guó)百姓在步槍的威懾下乖乖走出地面，男人的犯下的罪孽轉(zhuǎn)嫁到女人的身上。無(wú)數(shù)婦女被強(qiáng)奸，卻沒(méi)有任何一個(gè)蘇聯(lián)軍官出面制止。 她（Nina Hoss 尼娜?霍斯 飾），是這群備受屈辱的德國(guó)女人中的一員，丈夫遠(yuǎn)在前線，生死未卜，惶恐無(wú)助的她只能一次次忍受屈辱。她將自己委身一位蘇聯(lián)軍官，只為在這惡境中求得生存…… 本片根據(jù)根據(jù)德國(guó)女記者同名日記體作品改編。
備注：已完結(jié)
類型：喜劇片
主演：Thomas Blanchard Fran?ois Chattot O
導(dǎo)演：塞巴斯蒂安·貝蓓德
語(yǔ)言：法語(yǔ)
年代：未知
簡(jiǎn)介：Thomas and Thomas are going through a rough patch they are both thirty-something actors living in Paris. They randomly decide to leave the city and fly away to Kullorsuaq, one of the most remote villages of Greenland, where Thomas' father Nathan lives. Among the Inuit community, they will discover the charms of the local customs and their friendship will be challenged.
備注：已完結(jié)
類型：喜劇片
主演：MichaelDixonAndrewHarwoodMillsDorse
導(dǎo)演：GaryDelaney
語(yǔ)言：英語(yǔ)
年代：未知
簡(jiǎn)介：上班族德里克一直對(duì)橄欖球情有獨(dú)鐘，當(dāng)他得知美式橄欖球正在英國(guó)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(duì)比頗為不理解，認(rèn)定這是德里克背棄二人共同夢(mèng)想的自私行為。不過(guò)，這并沒(méi)有影響德里克對(duì)橄欖球的執(zhí)著，為了能打橄欖球他開(kāi)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(dòng)精神吸引了很多同樣熱愛(ài)這項(xiàng)運(yùn)動(dòng)的朋友們加入。在德里克的帶領(lǐng)下，他們招攬球員，購(gòu)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(qǐng)專業(yè)的美國(guó)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(kāi)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(mèng)。
備注：已完結(jié)
類型：劇情片
主演：Artúr Somlay Miklós Gábor Zsuzsa Bá
語(yǔ)言：其它
年代：未知
簡(jiǎn)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(ài)情片
主演：SarahJessicaParker KimCattrall Kris
導(dǎo)演：MichaelPatrickKing
語(yǔ)言：英語(yǔ)
年代：未知
簡(jiǎn)介：凱瑞（薩拉·杰西卡·帕克 Sarah Jessica Parker 飾）和夏洛特（克里斯汀·戴維斯 Kristin Davis 飾）的兩位同性好友，安東尼（馬里奧·坎通 Mario Cantone 飾）與斯坦福（威利·加森 Willie Garson 飾）終于成婚，而凱瑞與“大先生”（克里斯·諾斯 Chris North 飾）婚后卻不滿生活日漸平淡，二人矛盾漸生。全職媽媽夏洛特日夜擔(dān)心丈夫哈里（伊萬(wàn)·漢德勒 Evan Handler 飾）會(huì)與青春洋溢的愛(ài)爾蘭保姆艾琳（愛(ài)麗絲·伊芙 Alice Eve 飾）出軌。律師米蘭達(dá)（辛西婭·尼克松 Cynthia Nixon 飾）不滿老板對(duì)女性的歧視，憤而辭職。就在此時(shí)，薩曼莎（金·凱特羅爾 Kim Cattrall 飾）應(yīng)阿聯(lián)酋酋長(zhǎng)之邀，帶領(lǐng)三人出游中東的阿布扎比。在香料集市上，凱瑞重逢多年前的舊愛(ài)艾登（約...
備注：已完結(jié)
類型：喜劇片
主演：卡拉·索薩 K·C·克萊德 本·奧圖爾 何塞·馬利亞·亞茲皮克 Pat
導(dǎo)演：Catalina Aguilar Mastretta
語(yǔ)言：英語(yǔ)
年代：未知
簡(jiǎn)介：On the surface, Clara Barron seems to have it all a job as an OB-GYN; a great house in LA; and a loving family. But, the one thing Clara doesn't have figured out is her love life. Pressured by a family wedding in Mexico, Clara asks a co-worker to pose as her boyfriend for the weekend festivities,- only to be caught by surprise when her ex- boyfriend (and family favorite) suddenly shows up after disappearing from her life completely. Torn, Clara must decide between going back to the past or open her heart to new and unexpected possibilities.
備注：已完結(jié)
類型：劇情片
主演：Eszter ónodi 蒂伯·加斯帕爾 Petra Hovanyec
語(yǔ)言：其它
年代：未知
簡(jiǎn)介：電影回顧了匈牙利風(fēng)雨飄搖的20世紀(jì)。一位92歲的匈牙利女性在與五十多歲女兒的對(duì)話中，回顧了她驚心動(dòng)魄的一生。她成長(zhǎng)于匈牙利動(dòng)蕩的年代，與一位帥氣的軍人一見(jiàn)鐘情，為了避免戰(zhàn)爭(zhēng)的沖突，她一生搬家了27次。電影以幽默和溫情的方式來(lái)呈現(xiàn)了這段不凡的個(gè)人經(jīng)歷。它不僅是一位女性的個(gè)人史，亦是匈牙利的國(guó)家歷史。
備注：已完結(jié)
類型：劇情片
主演：Kim Delaney .... Dr. Samantha Hill
語(yǔ)言：英語(yǔ)
年代：未知
簡(jiǎn)介：本劇是NBC頗具震撼力的電視迷你短劇《10.5》（地動(dòng)天驚）的續(xù)集和終結(jié)篇。在上一集中，強(qiáng)烈的地殼運(yùn)動(dòng)所引發(fā)的10.5級(jí)恐怖地震毀滅了美國(guó)西海岸，改變了地核結(jié)構(gòu)，直接威脅到到北美甚至整個(gè)西半球，造成了一系列連鎖災(zāi)害：夏威夷被海嘯吞沒(méi)，胡佛被摧毀，洛杉磯沉沒(méi)……《10.5 Apocalypse》（毀滅之日）的視覺(jué)效果達(dá)到了同類迷你劇中的高水準(zhǔn)。 為了拯救更多的生命、挽救國(guó)家，Hollister總統(tǒng)（扮演者：艾美獎(jiǎng)和金球獎(jiǎng)雙料明星Beau Bridges，SG-1 第九季中可愛(ài)的將軍）決定孤注一擲。他找來(lái)全國(guó)最頂級(jí)也是最有爭(zhēng)議的地震學(xué)家Samantha Hill博士（扮演者：艾美獎(jiǎng)得主Kim Delaney）和她的上司兼前男友Jordan Fisher博士（扮演者：David Cubitt），評(píng)估最近一次地震所帶來(lái)的沖擊。Hill絞盡腦汁，沒(méi)辦法弄明白為什么會(huì)有持續(xù)不斷的地震和火山爆發(fā)，但她意外發(fā)現(xiàn)了也是地震學(xué)家的父親（扮演者：Frank Langella）多年前作出的一個(gè)難以置信的假設(shè)。如果這個(gè)假設(shè)正確，將會(huì)有更大的災(zāi)難到來(lái)，北美大陸也將徹底被改變：將被分割成兩塊獨(dú)立的大陸。
