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備注：已完結(jié)
類型：劇情片
主演：梅格·瑞恩 黛安·基頓 麗莎·庫卓 沃爾特·馬修 亞當(dāng)·阿金 肖恩·杜
導(dǎo)演：黛安·基頓
語言：
年代：未知
簡介：年老的勞（沃爾特·馬修飾）有三個女兒，可是他很少與女兒們見面，平常女兒們都只是打電話詢問老父親的情aaa。身為婦女雜志主編的大女兒喬姬婭（黛安·基頓飾）每天的工作都非常繁忙，身居要職的她每天都在努力工作；二女兒艾薇（梅格·瑞恩飾）美麗動人，但也同樣與父親缺少溝通；至于三女兒則是個演員，雖然不是大紅大紫，但她很享受自己的工作。父親從來都很少照顧女兒們，也很少關(guān)心她們的生活，無形中也成為了女兒與父親之間的隔閡。父親有自己孤獨的晚年生活，女兒們也有各自要忙碌的工作與生活?？墒钱?dāng)有一天，三姐妹接到老父親病倒的消息，都紛紛趕到了父親的身邊……
備注：已完結(jié)
類型：愛情片
主演：安東尼奧·班德拉斯 艾瑪·湯普森 瑪麗亞·卡納爾斯-巴雷拉 盧賓·布雷
導(dǎo)演：克里斯托弗·漢普頓
語言：英語 / 西班牙語
年代：未知
簡介：故事發(fā)生在風(fēng)景如詩如畫的阿根廷布宜諾斯艾利斯。卡洛斯（安東尼奧·班德拉斯 Antonio Banderas 飾）是一名劇作家，因為創(chuàng)作過幾個成功的劇本而擁有著不小的名氣。卡洛斯和妻子西西莉亞（艾瑪·湯普森 Emma Thompson 飾）結(jié)婚多年，兩人之間的感情一直十分恩愛。西西莉亞是一名記者，在業(yè)內(nèi)小有名氣，她和卡洛斯一直被朋友們視為一對金童玉女，十分相配。
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：Martin Gjorgoski 丹尼茲·阿布杜拉 尼古拉·里斯坦諾夫
導(dǎo)演：瓦爾丹·托茲加
語言：其它
年代：未知
簡介：由瓦爾丹·托茲加編劇執(zhí)導(dǎo)，主要講述年輕人在犯罪道路上的經(jīng)歷。在一個由權(quán)力決定公平的國度，主人公菲利浦生活在青少年收養(yǎng)中心，在一個腐敗警察的脅迫下，他被迫參與了一次可怕的案件，因而產(chǎn)生無法痊愈的心理創(chuàng)傷。盡管菲利浦擁有其老師的幫助、收養(yǎng)中心的照料、朋友佩塔爾的安慰，他最終還是未能戰(zhàn)勝那次案件后的心理創(chuàng)傷帶給他的痛苦。痛苦吞噬了他的理智，產(chǎn)生復(fù)仇之念，致使他將更多年輕人拉入他殘酷命運的深淵。最終菲利浦通過其暴力、兇猛的手段，將迷失的年輕人帶進(jìn)了黑暗、暴力的犯罪世界。
備注：已完結(jié)
類型：劇情片
主演：JoanaDarcFurtado LéaAlves AndreiaVi
導(dǎo)演：AdirleyQueirós JoanaPimenta
語言：葡萄牙語
年代：未知
簡介：主角蕾婭為我們講述了凱布拉達(dá)斯加油站的故事，如電影般真實的情節(jié)，在巴西聯(lián)邦區(qū)巴西利亞女子監(jiān)獄“蜂巢”的墻壁上回響。影片融合了紀(jì)錄片與劇情片的邊界，由非職業(yè)演員扮演自己，拍攝于具備強烈電影感的真實環(huán)境，燈火忽明忽暗、干旱地貌讓人聯(lián)想起西部片的氛圍，導(dǎo)演們堅信：當(dāng)虛構(gòu)的東西被剝離，留存下來最重要的，就是最真實的生活。
