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備注：已完結(jié)
類型：劇情片
主演：貝利·赫維內(nèi)加拉德 馬克斯·馮·敘多夫 埃里克·帕斯卡 比約恩·格拉納
導(dǎo)演：比利·奧古斯特
語(yǔ)言：丹麥語(yǔ) / 瑞典語(yǔ)
年代：未知
簡(jiǎn)介：故事發(fā)生在十九世紀(jì)末北歐，混亂的局勢(shì)衰頹的經(jīng)濟(jì)令人民們陷入了民不聊生的境地。農(nóng)民拉斯卡森（馬克斯·馮·西多 Max von Sydow 飾）帶著兒子佩爾（貝利·赫維內(nèi)加拉德 Pelle Hvenegaard 飾）來(lái)到丹麥，希望能夠在這里依靠自己的雙手掙得更體面的生活?！ ∪欢?，現(xiàn)實(shí)卻遠(yuǎn)不如想象中那么美好，父子兩人好不容易在農(nóng)莊里找到了一份清理馬廄的工作，無(wú)處可去的兩人只能和馬只一起睡在茅草堆上，白日里還要受到雇主的責(zé)難和剝削，生活苦不堪言。長(zhǎng)工埃里克（比約恩·格拉納特 Bj?rn Granath 飾）積極的領(lǐng)導(dǎo)工人們同壓迫他們的管家作斗爭(zhēng)，埃里克的自由精神深深鼓舞了佩爾，使他決定離開(kāi)莊園，開(kāi)拓新的天地。
備注：已完結(jié)
類型：劇情片
主演：Salman Khan Preity Zinta Bhoomika C
語(yǔ)言：其它
年代：未知
簡(jiǎn)介：芭麗和夏布是一對(duì)非常恩愛(ài)的夫妻，夏布從事著廣告創(chuàng)意的行業(yè)，芭麗的存在常常給他帶來(lái)各種各樣的靈感。一場(chǎng)車(chē)禍中，芭麗不幸喪生，臨終前，她希望能夠?qū)⒆约旱男呐K捐贈(zèng)出去，去挽救另外一條無(wú)辜的性命。接受芭麗心臟的，是一個(gè)名叫達(dá)妮的女孩，手術(shù)結(jié)束之后，達(dá)妮在敏敏之中繼承了芭麗的性格和好惡，并且在不知不覺(jué)之中深深的愛(ài)上了夏布?！ “披悂?lái)到了夏布所在的公司成為了一名策劃人，因?yàn)闊o(wú)法忘記已故的亡妻，所以夏布對(duì)熱情似火的達(dá)妮處處回避。但不可否認(rèn)的是，達(dá)妮確實(shí)也給夏布帶來(lái)了很多新的靈感。最終，夏布還是得知了有關(guān)妻子心臟的真相。
備注：已完結(jié)
類型：劇情片
主演：Eliza Sodró 索菲婭·紹莫希 Ern? Fekete 列文特
導(dǎo)演：克里斯托弗·迪克
語(yǔ)言：其它
年代：未知
簡(jiǎn)介：When Fuchs starts his new job as a teacher in a prison school, replacing the old and unconventional teacher Berger against her will, he is forced to confront his biggest fear, triggered by the mysterious, withdrawn inmate Samira.
備注：已完結(jié)
類型：劇情片
主演：彼得·穆蘭 奧利維婭·科爾曼 塞繆爾·博頓利 希安·布萊金 保羅·帕波
導(dǎo)演：帕迪·康斯戴恩
語(yǔ)言：英語(yǔ)
年代：未知
簡(jiǎn)介：脾氣暴躁的約瑟夫（彼得·穆蘭 Peter Mullan 飾）有一個(gè)破碎的家庭，他的生活自暴自棄混亂不堪。到處惹事的他無(wú)意間闖入了一間服裝店，結(jié)識(shí)了店主漢娜（奧莉薇婭·柯?tīng)柭?Olivia Colman 飾）。漢娜是一名虔誠(chéng)的天主教徒，住在高檔小區(qū)，有一個(gè)完美無(wú)瑕的丈夫，但是無(wú)法生育的事實(shí)讓她一直都耿耿于懷。約瑟夫在漢娜的身上感受到了同自己相似的氣息，果不其然，漢娜的生活并不如表面上那樣平靜，看似完美的丈夫在背地里卻是一個(gè)可怕的施虐狂，動(dòng)則就對(duì)妻子拳腳相加。某日，經(jīng)歷過(guò)又一番非人折磨的漢娜鼻青臉腫的找到約瑟夫，她告訴他自己已經(jīng)決定離開(kāi)丈夫，希望約瑟夫能夠收留無(wú)親無(wú)故的她。這一舉動(dòng)觸動(dòng)了約瑟夫?qū)σ压势拮拥幕貞?，他答?yīng)幫漢娜回家收拾行李。約瑟夫拿著漢娜的鑰匙進(jìn)入了漢娜家，但出現(xiàn)在眼前的情景卻讓他大吃一驚。無(wú)因的暴力，就像暴龍般在這個(gè)街區(qū)的上空徘徊不去。
備注：已完結(jié)
類型：劇情片
主演：格萊戈?duì)枴た屏?/a> Dzemail Maksut 拉賓娜·米特威斯卡 米莉
導(dǎo)演：米爾科·曼徹夫斯基
語(yǔ)言：其它
年代：未知
簡(jiǎn)介：在馬其頓，戰(zhàn)爭(zhēng)中的波斯尼亞，東正教的一位年輕修士以沉默保護(hù)一位年輕女孩，這位阿爾巴尼亞女孩涉嫌殺害一位東正教徒。但其實(shí)只是誤會(huì)。修士以自己的善良決定與女孩私奔。 在倫敦，一位攝影記者（凱特琳·卡特利吉 Katrin Cartlidge 飾）在餐館與她的丈夫談?wù)摳星樽兊膯?wèn)題，二人爭(zhēng)吵激烈之時(shí)，一名種族主義者沖入餐館開(kāi)槍掃射。愛(ài)，在生死之間突然變得清晰?！ ∫晃浑x開(kāi)好友的攝影記者（拉德·舍博德茲加 Rade Serbedzija 飾）從倫敦出發(fā)，回到16年沒(méi)來(lái)的老家馬其頓。這里有他的老朋友，他的東正教朋友們，還有與阿爾巴尼亞人的種族矛盾。攝影記者嘗試通過(guò)和解的方式化解紛爭(zhēng)，但是，這一切遠(yuǎn)沒(méi)有他想象的那么簡(jiǎn)單?！ 皥A圈不是一個(gè)圓?！比蜗嗷ソ诲e(cuò)的故事，不同文化、宗教、民族的誤會(huì)造成的悲劇。
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：喜劇片
主演：帕梅拉·托拉 賈柯·涅米 韋薩·維耶里科 艾倫·凱倫 MiiaNuut
導(dǎo)演：約翰娜·?？律R
語(yǔ)言：芬蘭語(yǔ)
年代：未知
簡(jiǎn)介：篤信“離婚是戀愛(ài)最自然、最順理成章的結(jié)果”的珊娜為了證明這句話，開(kāi)始調(diào)查不同人群的婚姻狀況，總結(jié)離婚誘因，由此引發(fā)連場(chǎng)鬧劇，直至自己也陷入戀愛(ài)，“毀婚”規(guī)律也慢慢瓦解。影片以黑色幽默剖開(kāi)性與愛(ài)、婚姻與幸福關(guān)系的神秘面相，處處是令人忍俊不禁而又發(fā)人深省的葷味笑料。
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(yǔ)言：英語(yǔ)
年代：未知
簡(jiǎn)介：英國(guó)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(shí)猝死，母親（Sinéad Cusack 飾）則自此患病，每況愈下。為了不使四個(gè)孩子被福利機(jī)構(gòu)領(lǐng)走，母親堅(jiān)持不去醫(yī)院，最終郁郁離開(kāi)人世。長(zhǎng)子杰克（Andrew Robertson 飾 ）與長(zhǎng)女朱莉（Charlotte Gainsbourg 夏洛特?甘斯布 飾）將母親的尸體偷偷沉進(jìn)水泥之中，帶著弟妹湯姆（Ned Birkin 飾）和蘇（Alice Coulthard 飾）獨(dú)自生活。
