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備注：已完結(jié)
類型：劇情片
主演：Avigail Harari 冉·丹克 Yael Folman Eli
導(dǎo)演：塔雅·萊維
語(yǔ)言：其它
年代：未知
簡(jiǎn)介：《士氣為零》導(dǎo)演攜手《狐步舞》制片人共同呈現(xiàn)了浪漫喜劇《新婚之夜》，影片講述的故事發(fā)生在耶路撒冷的一個(gè)晚上。一對(duì)新人在婚禮后來(lái)到了他們的豪華酒店套房，然而他們并沒有一起輕松地度過(guò)一個(gè)浪漫的夜晚，反而是陷入了一場(chǎng)爭(zhēng)吵，繼而演化成了一場(chǎng)眼花繚亂的城市之旅。在這個(gè)尋常又不尋常的夜里，兩人面對(duì)了各自過(guò)去的愛情、壓抑的懷疑以及決定留在過(guò)去的生活。
備注：已完結(jié)
類型：劇情片
主演：Alireza Baledi Zeynab Naserpour Ara
導(dǎo)演：Amirhossein Asgari
語(yǔ)言：其它
年代：未知
簡(jiǎn)介：一個(gè)善良單純的男孩獨(dú)自生活在邊界地帶上。他每天無(wú)憂無(wú)慮，靠著垂釣生活。他已經(jīng)將這個(gè)地方選定為自己隱居與享受寧?kù)o的地點(diǎn)。有一天，一個(gè)陌生人的出現(xiàn)打破了這一切，帶走了他的平靜生活。伊朗影片《無(wú)疆界》榮獲東京國(guó)際電影節(jié)最佳亞洲影片，是導(dǎo)演阿瑪.侯賽因.阿斯加瑞（AmirHosseinAsgari）自編自導(dǎo)的第一部電影。片中沒有過(guò)多的臺(tái)詞和音樂渲染，樸實(shí)的鏡頭和小演員真誠(chéng)的表演卻帶來(lái)前所未有的沖擊，讓這個(gè)故事真實(shí)而感人。
備注：已完結(jié)
類型：劇情片
主演：PedramSharifi 巴巴克·卡里米 MohamadSareba
導(dǎo)演：沙朗·莫克利
語(yǔ)言：波斯語(yǔ)
年代：未知
簡(jiǎn)介：一個(gè)年輕人被警察帶到一個(gè)運(yùn)動(dòng)俱樂部，他在這個(gè)犯罪現(xiàn)場(chǎng)殺了人。警察只要再現(xiàn)犯罪現(xiàn)場(chǎng)，就可以輕松地結(jié)案?？蛇@個(gè)殺人兇手和他朋友想殺死被害人的孿生妹妹，因?yàn)楹ε逻@個(gè)她也像她哥哥一樣喝他們的血。所以，他們讓她在重現(xiàn)犯罪時(shí)扮演她哥哥，并殺掉她?？墒?，重現(xiàn)的過(guò)程沒有按任何人既定的方式進(jìn)行，所有人都忘了他們的角色。
備注：已完結(jié)
類型：劇情片
主演：Rahul Koli Richa Meena Bhavesh Shri
導(dǎo)演：賓·納倫
語(yǔ)言：其它
年代：未知
簡(jiǎn)介：9歲的男孩薩邁與家人一起住在印度的一個(gè)偏遠(yuǎn)村莊。在第一次看電影時(shí)，他就完全被吸引住了。薩邁不顧父親的反對(duì)，日復(fù)一日地回到電影院看電影。他甚至還和放映員交上了朋友，他用盒飯來(lái)交換免費(fèi)看電影的機(jī)會(huì)。很快，他就發(fā)現(xiàn)，在光影變幻中，故事變成了電影，并最終成就了他的夢(mèng)想。為了拍攝35毫米的膠片電影，薩邁和他那幫瘋狂的朋友竭盡全力地捕捉光影。他們用創(chuàng)新的方案成功制作出了一臺(tái)電影放映設(shè)備。但在追逐夢(mèng)想的過(guò)程中，他們也不得不放棄一些東西。
備注：已完結(jié)
類型：喜劇片
主演：朱麗葉塔·馬西納 桑德拉·米洛 馬里奧·皮蘇 瓦倫蒂娜·格特斯 瓦勒斯
導(dǎo)演：費(fèi)德里科·費(fèi)里尼
語(yǔ)言：其它
年代：未知
簡(jiǎn)介：費(fèi)里尼拍攝了另一部自傳性很強(qiáng)的電影《朱麗葉與魔鬼》，在這部電影里，費(fèi)里尼過(guò)分追求求神秘主義的夢(mèng)境空間，在影片里極盡詳能的描述描寫一個(gè)資產(chǎn)階級(jí)的女人遭到丈夫的欺騙，精神迷惘，陷于離奇古怪的幻覺，最后終于清醒的故事。雖然費(fèi)里尼和茱莉埃妲兩人攜手共度一生，而且費(fèi)里尼也從來(lái)沒有傳出與其他女人的誹聞，但是我想所有對(duì)費(fèi)里尼非常熟悉的影迷都不相信費(fèi)里尼從沒有出軌的行為。尤其在看了這部電影之后，因?yàn)樵谫M(fèi)里尼的電影中充分的表現(xiàn)出費(fèi)里尼是一個(gè)性欲旺盛且對(duì)女人充滿遐想的導(dǎo)演，他甚至在他的男人外遇只是把自己的性器官借給別人用一下罷了，并沒有出賣自己的靈魂?；蛘哌@正是費(fèi)里尼的迷人之處吧，他永遠(yuǎn)是神秘的，讓人無(wú)法捉摸的。
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：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：戴米恩·路易斯 鮑勃·霍斯金斯 麗貝卡·斯塔頓 Kieran Wall
導(dǎo)演：艾倫·佩里
語(yǔ)言：英語(yǔ)
年代：未知
簡(jiǎn)介：戛納參展影片，女性導(dǎo)演Ellen Perry作品——《Will》。講述一個(gè)名叫ZUKIC的利物浦小球迷的故事。電影中現(xiàn)任利物浦主教練肯尼·達(dá)格利什，隊(duì)長(zhǎng)史蒂文·杰拉德均有出演。海報(bào)上最亮點(diǎn)還是紅軍世代相傳的那句“YOU'LL NEVER WALK ALONE”，海報(bào)的背景舞臺(tái)是2005年5月25日的伊斯坦布爾之夜。影片將于戛納時(shí)間5月16號(hào)點(diǎn)映，公映時(shí)間尚不明確。
