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備注：已完結(jié)
類型：歐美劇
主演：吉娜·貝爾曼 克里斯蒂安·凱恩 邁克爾·馬西尼 貝絲·涅斯
語言：英語
年代：未知
簡介：在第三季中，團隊與一個偷取人們地下清潔水源并將其變?yōu)轶a臟金錢的權(quán)力掮客展開對抗，與一個在小鎮(zhèn)中既是法官又是陪審團的市長斗智斗勇，設(shè)法躲避一個在騙局中半路追上他們的目標，智斗一個兼營國際敲詐的臺球高手，并揭露一個剝削童工的工業(yè)家。與此同時，他們還得應(yīng)對來自過去敵人的精密復仇計劃，以及處理新的人際關(guān)系所帶來的后果。但無論面對什么挑戰(zhàn)，只要有人需要幫助，他們總會提供……“天賜之力”。
備注：已完結(jié)
類型：歐美劇
主演：吉娜·貝爾曼 克里斯蒂安·凱恩 邁克爾·馬西尼 貝絲·涅斯格拉夫 阿麗
語言：英語
年代：未知
簡介：在第三季中，團隊與一個偷取人們地下清潔水源并將其變?yōu)轶a臟金錢的權(quán)力掮客展開對抗，與一個在小鎮(zhèn)中既是法官又是陪審團的市長斗智斗勇，設(shè)法躲避一個在騙局中半路追上他們的目標，智斗一個兼營國際敲詐的臺球高手，并揭露一個剝削童工的工業(yè)家。與此同時，他們還得應(yīng)對來自過去敵人的精密復仇計劃，以及處理新的人際關(guān)系所帶來的后果。但無論面對什么挑戰(zhàn)，只要有人需要幫助，他們總會提供……“天賜之力”。
備注：已完結(jié)
類型：劇情片
主演：芭爾芭拉·克拉夫托夫娜 茲比格涅夫·齊布爾斯基 Artur Mlodn
導演：沃伊切赫·哈斯
語言：其它
年代：未知
簡介：關(guān)于二戰(zhàn)的電影是波蘭電影學院派經(jīng)常拍攝的話題。在《如何被愛》中哈斯把只是把戰(zhàn)爭作為背景，講述兩個普通人的悲劇感情故事。女主角為了愛情的無私奉獻最后反而成為了她深愛的男人的負擔，在某種意義上毀掉了后者的生活。這一切都是在戰(zhàn)爭的環(huán)境下發(fā)生的，正如女主角講的，開始以為生活就是自己身邊的事，后來才發(fā)現(xiàn)整個國家都和你有關(guān)。而男主角最后也說道，我們都是被卷入戰(zhàn)爭的普通人。
備注：已完結(jié)
類型：劇情片
主演：Sara Suzanne Brown Michael Artura L
語言：英語
年代：未知
簡介：Phil enjoys watching his wife Diane using her killer looks to seduce men they don't know. Diane is also thrilled by her actions, knowing that she's fulfilling her husband's voyeuristic pleasures. When she meets Mickey, she discovers that he is a man who follows no rules but his own. The games of seduction become more and more perverse, and dangerous.
備注：已完結(jié)
類型：愛情片
主演：加里·庫珀 英格麗·褒曼 AkimTamiroff ArturodeC
導演：山姆·伍德
語言：英語 / 西班牙語
年代：未知
簡介：故事發(fā)生在1937年西班牙內(nèi)戰(zhàn)時期，在紛飛的戰(zhàn)火之中，一位來自美國的名叫羅伯特（加里·庫柏 Gary Cooper 飾）的男人，他的身影時?；钴S在前線，帶領(lǐng)著西班牙人民抗擊當?shù)胤ㄎ魉沟臍埍┙y(tǒng)治。他們炸火車打巷戰(zhàn)，打得敵人節(jié)節(jié)敗退。
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：伊夫·蒙當 艾琳·帕帕斯 讓-路易·特蘭蒂尼昂 弗朗索瓦·佩里埃 雅克
導演：科斯塔-加夫拉斯
語言：法語,俄語,英語
年代：未知
簡介：本片講述在軍事政權(quán)創(chuàng)獨裁體制的南歐某國（影射希臘），反對政府的在野黨領(lǐng)袖Z先生在一次演講中遭人暗殺，政府當局公布是意外車禍而死，對這理由不能置信的人們強烈要求查明真相。從Z先生的同事那兒打聽到種種跡象的檢察官決定抵抗政治壓力追查到底，終于發(fā)現(xiàn)這是一宗有計劃的政治謀殺，并牽扯出許多政界的大人物?？墒呛髞頎可孢@件命案的人不是被流放就是被處以徒刑或是被殺。加斯華憑借此片一舉成名，并開啟了政治黑幕片的新風暴。
