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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：劇情片
主演：安德魯·羅伯森 夏洛特·甘斯布 AliceCoulthard 奈德·伯
導(dǎo)演：安德魯·伯金
語言：英語
年代：未知
簡介：英國郊區(qū)，一家人搬到一幢黑色的公寓中。父親（Hanns Zischler 飾）在修葺院子時猝死，母親（Sinéad Cusack 飾）則自此患病，每況愈下。為了不使四個孩子被福利機構(gòu)領(lǐng)走，母親堅持不去醫(yī)院，最終郁郁離開人世。長子杰克（Andrew Robertson 飾 ）與長女朱莉（Charlotte Gainsbourg 夏洛特?甘斯布 飾）將母親的尸體偷偷沉進水泥之中，帶著弟妹湯姆（Ned Birkin 飾）和蘇（Alice Coulthard 飾）獨自生活。
備注：已完結(jié)
類型：劇情片
主演：伊里·馬德爾 克蕾蒙絲·西爾萊 Juraj Adamík Radek
導(dǎo)演：米蘭切斯拉爾
語言：英語
年代：未知
簡介：1973年，居住在紐約的捷克猶太作家威利·弗雷德知道兒子女朋友的母親也曾被關(guān)押在奧斯維辛集中營，父子倆登門拜會，威利見到了苦尋三十年的集中營戀人科萊特·科恩，威利的記憶閘門再次被打開……1943年7月，威利被轉(zhuǎn)押到奧斯維辛·比克瑙集中營，不久比利時猶太女孩科萊特也被火車送來。威利在火車站臺上叮囑剛下車的科萊特要自稱縫紉工，這使得科萊特免遭進毒氣室。后來科萊特被分配去檢查猶太人衣物中藏匿的貴重物品；威利則利用送取衣物之機偷偷在營內(nèi)傳遞食品和藥物，共同的命運使兩人很快相戀了……
備注：已完結(jié)
類型：劇情片
主演：西爾維斯特·史泰龍 邁克爾·凱恩 貝利 鮑比·摩爾 奧斯瓦爾多·阿迪列
導(dǎo)演：約翰·休斯頓
語言：英語
年代：未知
簡介：二戰(zhàn)末期，德國納粹的攻勢漸顯疲態(tài)。位于法國的某納粹集中營內(nèi)，德國軍官為鼓舞士氣，同時打擊盟軍的氣焰，竟別出心裁地想出了一場國際足球賽。由兵強馬壯的德國隊，對抗羸弱不堪的國際戰(zhàn)俘隊。前英國國腳科爾比（邁克爾·凱恩 Michael Caine 飾）認(rèn)為這是絕佳的越獄良機，于是欣然接受德軍 的提議?？票纫环矫婢W(wǎng)羅足球方面的人才，抓緊訓(xùn)練，一面委派美國人哈奇（Sylvester Stallone 史泰龍 飾）逃出集中營，聯(lián)絡(luò)巴黎的地下組織，準(zhǔn)備在比賽那天里應(yīng)外合，集體越獄。比賽的日子逐漸臨近，他們最終能否成功？
備注：已完結(jié)
類型：劇情片
主演：葉蓮娜·巴別卡 尤金妮婭·赫里芙斯卡雅 MikhailEfremov
導(dǎo)演：JohnnyO'Reilly
語言：俄語
年代：未知
簡介：The volatile intersections of contemporary Moscow and the intimate lives of five people.
備注：已完結(jié)
類型：劇情片
主演：Mike M?ller Volkram Zschiesche Oliv
語言：英語
年代：未知
簡介：“血液”是一個無法無天的城市犯案團伙，他們以街頭恐嚇和暴力惡名遠(yuǎn)揚。其中一名叫斯萊特的惡霸是他們的領(lǐng)袖，在他看來，這個城市的地盤全權(quán)由他掌管。與此同時，這個城市中還有些堅持拒絕加入幫派的正義之士,比如米奇和他的朋友。但正義的選擇只能帶給他們越來越邊緣的生活，因為斯萊特越來越囂張，沖突一觸即發(fā)。直到有一天，米奇的哥哥馬修斯和他的朋友們?yōu)榱吮M量避免與“血液”團伙的直接沖突反而失蹤被殺。一腔悲痛的米奇為了哥哥的死決定報仇報仇以雪心中的憤恨。為了戰(zhàn)勝“血液”，從此他無畏于一切街頭斗毆和街頭比武……直到有一天他的名字被高高掛在了這個街頭，“血液”和惡霸終將成為傳說。
備注：已完結(jié)
類型：劇情片
主演：Ivan Mikolajchuk Larisa Kadochnikov
導(dǎo)演：謝爾蓋·帕拉杰諾夫
語言：其它
年代：未知
簡介：影片改編自柯秋賓斯基的同名抒情小說。導(dǎo)演把情節(jié)拆散為“伊凡和瑪麗奇卡”、“波洛尼納”、“孤獨”、“伊凡和巴拉格娜”、“日常生活”、“圣誕”、“春在明天”、“雷雨”、“小酒店”、“伊凡之死”、“虔誠的儀式”等11個單元，講述了主人公伊凡兩闕刻骨銘心的愛情悲歌：先是女主人公瑪麗奇卡在尋找伊凡的途中不幸墜河而死，后有另一位女主人公巴拉格娜背叛伊凡，故事最后以伊凡死于情敵手下而結(jié)束。 本片是典型的詩電影，以獨特的風(fēng)格展現(xiàn)了民族探索生存道路的景象，窺探了民族內(nèi)在意識的活動和變化。影片以出神入化的方式混合細(xì)膩的紀(jì)錄場面和巴洛克華麗的視覺效果。透過主角情感的引導(dǎo)，漩渦式的敘事方式，穿梭于奇幻真實之間。攝影機像是著魔似地，將觀眾帶進他們神秘的夢境。影片上映后曾遭禁演，但在壓力下，隨即解禁。
