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備注：已完結(jié)
類(lèi)型：劇情片
主演：凱文·科斯特納 埃米·馬迪根 蓋比·霍夫曼 雷·利奧塔 蒂莫西·布斯菲
導(dǎo)演：菲爾·奧爾登·羅賓森
語(yǔ)言：英語(yǔ)
年代：未知
簡(jiǎn)介：主人翁是青少年時(shí)期與父親失和而無(wú)法完成夢(mèng)想的農(nóng)場(chǎng)主人雷，有一天他聽(tīng)到神秘聲音說(shuō)：“你蓋好了，他就會(huì)來(lái)?！庇谑撬裰四б粯隅P平了自己的玉米田建造了一座棒球場(chǎng)，沒(méi)想到他的棒球偶像真的來(lái)到那里打球，而且還因此而使他跟父親之間好多年心結(jié)得以開(kāi)解。
備注：已完結(jié)
類(lèi)型：劇情片
主演：Isabelle Weingarten Guillaume des F
導(dǎo)演：羅伯特·布列松
語(yǔ)言：法語(yǔ)
年代：未知
簡(jiǎn)介：年輕的畫(huà)家雅克從鄉(xiāng)間搭車(chē)前往巴黎。在到達(dá)巴黎的那個(gè)夜晚，他偶遇了正想投河自殺的瑪爾特。雅克救下了她，并陪她回家，他們相約轉(zhuǎn)天晚上再見(jiàn)面。第二個(gè)夜晚，雅克和瑪爾特交換了彼此的人生故事，在瑪爾特的請(qǐng)求下，雅克成了瑪爾特和她情人間的信使。然而，那位絕情的情人并沒(méi)回信，這讓瑪爾特非常失落。在接下來(lái)的兩個(gè)夜晚，雅克對(duì)瑪爾特的衷情終于得到回應(yīng)，瑪爾特也向雅克傾訴了愛(ài)意。第四個(gè)夜晚，正當(dāng)兩人挽手同行時(shí)，他們偶遇了瑪爾特原來(lái)的情人…… 本片改編自費(fèi)奧多爾·陀思妥耶夫斯基的短篇小說(shuō)《白夜》。
備注：已完結(jié)
類(lèi)型：劇情片
主演：Sagamore Stévenin Léa Bosco
語(yǔ)言：法語(yǔ)
年代：未知
簡(jiǎn)介：1767年，人們?cè)诜▏?guó)格夫丹地區(qū)的森林里發(fā)現(xiàn)了恐怖的殺人怪獸。據(jù)說(shuō)，它是一種類(lèi)似狼和狗的兇猛怪獸，被襲擊的人都被咬破了頸部血管。在當(dāng)?shù)貙ふ铱噹У耐馐♂t(yī)生皮埃爾到最近出現(xiàn)的人命案現(xiàn)場(chǎng)勘查了情況，他對(duì)和尸體近在咫尺的卻完好無(wú)損的捕獸陷阱感到十分困惑。對(duì)于怪獸，教堂里牧師的解釋是，那是一只惡魔附體的怪獸，是來(lái)懲罰人們的罪惡的，人們必須虔誠(chéng)禱告來(lái)贖罪。他甚至暗示村中的異教徒、制作亞麻布擁有自己土地的外鄉(xiāng)人沙斯黛爾一家就是撒旦的替身?！ ∠鞯椒矤栙悓m，已經(jīng)開(kāi)始相信科學(xué)、摒除封建迷信的國(guó)王路易十五派出了火槍手，要求盡快擊斃森林里的“動(dòng)物”。隨著弒人事件的不斷發(fā)生，醫(yī)生在死者身上的發(fā)現(xiàn)有了驚人的進(jìn)展。他在一個(gè)女死者的頸部傷口中取出了被折斷的鐵器的殘片，而動(dòng)物是不可能用這樣的工具來(lái)殺人的，他認(rèn)為，所謂的森林怪獸不過(guò)是披著狼皮的人罷了。他把自己的發(fā)現(xiàn)和結(jié)論告訴御史，但火槍手并不聽(tīng)信這一套，他腦子里想的只是殺死一只狼什么的動(dòng)物，然后回宮請(qǐng)賞。 與此同時(shí)，對(duì)于異教徒沙斯黛爾一家的迫害也達(dá)到了前所未有的程度。在牧師母親的惡意教唆下，村民把憤怒的火焰噴向了沙斯黛爾一家。沙斯黛爾先生將因使用巫術(shù)而被絞死，在醫(yī)生皮埃爾的斡旋下才逃得性命。而皮埃爾的發(fā)現(xiàn)也把他懷疑的對(duì)象指向了當(dāng)?shù)氐馁F族、侯爵先生，但最后當(dāng)他在沙斯黛爾家發(fā)現(xiàn)身披狼皮、企圖殺死沙斯黛爾女兒的人時(shí)，他才明白，怪獸竟是伯爵莫蘭齊斯。他開(kāi)槍擊斃了這個(gè)“怪獸”?！ 」俜浇o伯爵的死因是意外死亡，火槍手因射殺了一只狼回宮得賞，沙斯黛爾先生因喪妻而瘋癲起來(lái)，他的女兒和醫(yī)生皮埃爾結(jié)為夫妻。
備注：已完結(jié)
類(lèi)型：劇情片
主演：伊恩·夏普 Gina Bramhill 里克·沃登 Nicholas
語(yǔ)言：英語(yǔ)
年代：未知
簡(jiǎn)介：A mysterious man, Dean, returns to his hometown of Grimsby after many years abroad in the Army. His arrival is met with animosity, particularly from his father, an avid pigeon racer. Dean is drawn back to confront his demons, and confess a secret to a childhood friend, Jess, only to discover she has been struggling since the untimely death of her husband. Whilst attempting to raise her child and battling a crumbling economy and dearth of opportunities, she is pulled into a harsh underworld. Dean must help her, throw her a lifeline, but the situation only darkens. When their lives are threatened he will do all it takes to make sure she is safe.
備注：已完結(jié)
類(lèi)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(lèi)型：劇情片
主演：德魯·巴里摩爾 莎拉·吉爾伯特 湯姆·斯凱里特 切瑞·拉德 Alan
導(dǎo)演：凱特·西亞
語(yǔ)言：英語(yǔ)
年代：未知
簡(jiǎn)介：大牌影星朱·巴瑞摩爾曾在著名科幻巨片《E.T.外星人》中飾演一位惹人喜愛(ài)的小女孩歌蒂，而在《欲海潮》一片中，觀眾所看到的巴瑞摩爾已不再是一個(gè)小女孩了，她已經(jīng)成長(zhǎng)為一名成熟性感的大艷女?！ ≤缇S是一個(gè)叛逆不平的富家女，在一個(gè)偶然的機(jī)會(huì)遇到了與自己個(gè)性迥然不同的艾薇，她熱情開(kāi)放的舉止及特有的神秘色彩讓茜維為之震撼，因好奇心驅(qū)使她一心想與她成為好友，因緣際會(huì)下，艾薇住進(jìn)了茜維家，但從此災(zāi)難接踵而至，父親被艾薇誘惑出軌，母親離奇墮樓而亡……
