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備注：已完結(jié)
類型：劇情片
主演：喬治·麥凱 杰克·奧康奈爾 亞歷山德拉·羅奇 弗朗西斯·德·拉·圖瓦
導(dǎo)演：帕特·奧康納
語言：英語
年代：未知
簡介：生活在英國小鎮(zhèn)的小托，跟媽媽、兩個哥哥，還有心生好感的姑娘莫莉，一起過著寧靜、明亮、芬芳的生活。生活中也有悲傷、愁苦、失落，和看似解決不了的困境，每每這時，他們就唱起一首名叫《柑橘與檸檬啊》的歌。在歌聲中，敏感、柔弱的小托慢慢長大?！ ?zhàn)爭的轟然來臨，改變了所有人的生活。小托本能地逃避戰(zhàn)爭的行為，卻被別人以及他自己認(rèn)為是懦弱的。為了逃避這種羞恥，為了逃避愛情的挫敗，小托謊報了年齡，和查理一起應(yīng)征入伍。在戰(zhàn)火中，小托對世界和自己有了更新的認(rèn)識，他漸漸褪去了柔弱和怯懦，懂得堅強(qiáng)、擔(dān)當(dāng)和關(guān)懷，內(nèi)心越來越強(qiáng)大?！ r鐘嘀嗒，十點(diǎn)五分、十點(diǎn)四十分、接近十一點(diǎn)一刻……時間一分一秒流逝，小托在懷表旁守候著，等待著天明，等待著結(jié)局?！ 〉诙欤宄坎钜环至c(diǎn)，讀者終于隨著小托的回憶，走回現(xiàn)實的當(dāng)下，揭開故事的最終秘密……一夕回憶，水樣春愁的童年陡然步入悲愴不休的少年。 ?這是一個孩子如何在困境和希望中長大的故事，而我們——經(jīng)過了無數(shù)歡樂、哀愁、恩怨、挫折、沮喪、寂寞、謊言、猜疑的大人們，也在這里，看到始終存在于自己內(nèi)心的——那個兒童。
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?？逅梗ò矕|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?？逅购推拮游魑骼騺啠ò敗丈?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：Sagamore Stévenin Léa Bosco
語言：法語
年代：未知
簡介：1767年，人們在法國格夫丹地區(qū)的森林里發(fā)現(xiàn)了恐怖的殺人怪獸。據(jù)說，它是一種類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)場勘查了情況，他對和尸體近在咫尺的卻完好無損的捕獸陷阱感到十分困惑。對于怪獸，教堂里牧師的解釋是，那是一只惡魔附體的怪獸，是來懲罰人們的罪惡的，人們必須虔誠禱告來贖罪。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)開始相信科學(xué)、摒除封建迷信的國王路易十五派出了火槍手，要求盡快擊斃森林里的“動物”。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。他在一個女死者的頸部傷口中取出了被折斷的鐵器的殘片，而動物是不可能用這樣的工具來殺人的，他認(rèn)為，所謂的森林怪獸不過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，但火槍手并不聽信這一套，他腦子里想的只是殺死一只狼什么的動物，然后回宮請賞?！ ∨c此同時，對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，他才明白，怪獸竟是伯爵莫蘭齊斯。他開槍擊斃了這個“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，他的女兒和醫(yī)生皮埃爾結(jié)為夫妻。
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：喜劇片
主演：凱德·麥拉德 丹尼·伯恩 佐伊·費(fèi)利克斯 洛倫佐·奧斯利亞-福雷 安·
導(dǎo)演：丹尼·伯恩
語言：法語
年代：未知
簡介：菲利普（凱德·麥拉德 Kad Merad 飾）在法國南部普羅旺斯的一家郵局任職了十多年，一成不變的生活和悶悶不樂的妻子朱莉（Zoé Félix 飾）令他感到壓抑。為了討妻子歡心，菲利普裝扮成殘疾人申請升職到南部的黃金海岸地區(qū)，卻不料弄巧成拙被調(diào)派到了極北的小城貝爾格（Bergues）擔(dān)任局長。在南方人眼里，那里氣候寒冷惡劣，人民粗俗不堪，說話還帶著難懂的Ch'ti口音，是堪比地獄的地方?！ ⌒幕乙饫涞姆评辙o別家人，忐忑不安的獨(dú)自赴任。然而出乎意料的是，他發(fā)現(xiàn)自己的新下屬們和當(dāng)?shù)氐木用穸己軣崆楹每?，自己也很快與郵遞員安東尼（丹尼·伯恩 Dany Boon 飾）交上了朋友。菲利普逐漸愛上了這處淳樸簡單的小城，但當(dāng)他試圖說服朱莉一同來到北方生活，卻遭到了妻子的質(zhì)疑…… 本片曾獲2008年歐洲電影獎及2009年法國愷撒獎提名。
