備注：已完結
類型：劇情片
主演：瑪利亞姆·莫哈達 Alireza Sani Far Pouria Ra
語言：其它
年代：未知
簡介：當米娜得知她的丈夫Babak是被錯判而被處決的時候，她的生活發(fā)生了翻天覆地的變化。當局為這個錯誤道歉，并提供了經濟賠償的前景。米娜為了自己和聾啞女兒的利益，開始默默與這個充斥著犬儒主義的制度進行斗爭。就在她的錢快花完的時候，一個叫Reza的陌生人敲開了她的門，聲稱是來還欠Babak的債的。米娜一開始很警惕，但最終還是讓Reza進入她的生活，她卻不知道，一個秘密把他們聯系在一起。Behtash Sanaeeha和Maryam Moghaddam巧妙地將內疚與贖罪這一伊朗電影的經典題材呈現在電影中，成為一個小而精的姿態(tài)和空間。導演Maryam Moghaddam出色地扮演了夾在孤獨和爭取自決之間的米娜的角色。
備注：已完結
類型：劇情片
主演：弗洛里安·盧卡斯 大衛(wèi)·克勞斯 斯蒂格·亨里克·霍夫 拉克蘭·尼布爾
導演：彼特·納斯
語言：英語
年代：未知
簡介：《戰(zhàn)友》是一部反戰(zhàn)題材影片。在嚴寒的挪威荒野的上空，英德雙方的戰(zhàn)機在一場激烈的空戰(zhàn)中被彼此擊落墜毀。在這與世隔絕的地方，他們必須竭盡全力在嚴寒的冬季生存下來。盡管戰(zhàn)爭使他們成了敵人，但是隨著日子一天天過去，這種敵對狀態(tài)很難維持。在對彼此的需要中，一種非常規(guī)的友誼開始萌芽。最后他們竟成了親密的戰(zhàn)友。無論如何，戰(zhàn)爭都是荒謬的。
備注：已完結
類型：劇情片
主演：AidaMohammadkhani MohsenKafili Fere
導演：賈法·帕納西
語言：波斯語
年代：未知
簡介：伊朗新年之前，小女孩納西亞（艾達?莫哈默德哈尼 Aida Mohammadkhani 飾）隨媽媽到集市購買過年用品，路過馴蛇人的攤位，發(fā)現眾人圍觀，擠進去才發(fā)現他正在吆喝，要觀眾掏錢看蛇類表演，并販賣肥大的金魚。納西亞很想買一只金魚，但是因為家境貧寒，媽媽手里只有500圖曼的過年錢，而一條魚要100圖曼，所以媽媽只得帶著納西亞回家。她本想用新年禮物跟媽媽討價還價，但卻被嚴詞拒絕。失望的她只得拜托哥哥幫忙，結果哥哥說服了媽媽，把500圖曼給了她。納西亞把錢放進小魚罐，興沖沖地跑到養(yǎng)蛇人的攤位，準備滿足心愿。然而事情在此突然發(fā)生了轉機……
備注：已完結
類型：劇情片
主演：Pavle Cemerikic Sumeja Dardagan 賈斯敏
導演：伊戈爾·德爾利亞恰
語言：波斯尼亞語,英語
年代：未知
簡介：青少年法魯克和朋友靠幫黑手黨做事為生，直到他遇到中產階級女孩莫娜，一段青春期的浪漫愛情由此萌發(fā)。影片徘徊在驚悚片和童話故事之間，灰暗現實與迷人夢境互相交織，極富油畫質感的布光、舒緩的鋼琴旋律襯托出年輕人的迷惘與哀愁。波黑導演伊戈爾·德爾利亞憑借一個浪漫愛情故事之殼，展現戰(zhàn)后薩拉熱窩的社會氛圍，以及不同階層的生活狀況。本片入圍2021年柏林電影節(jié)新生代青年競賽單元。
備注：已完結
類型：劇情片
主演：恩里克·洛維索 Valentina Scalici Giuseppe
導演：吉安尼·阿梅利奧
語言：其它
年代：未知
簡介：羅塞塔（瓦倫蒂娜?斯卡里希 Valentina Scalici 飾）和盧恰諾（朱塞佩?伊拉西塔諾 Giuseppe Ieracitano 飾）是一對相依為命的姐弟，她們的母親因為逼女兒賣淫而鋃鐺入獄。此事遭媒體曝光后，兩人隨后被兩個警察送上了去孤兒院的列車。其中一個警察因事先行告退，將姐弟倆托付給警察安東尼奧（恩里克?洛維索 Enrico Lo Verso 飾）獨自看護。姐姐背負著雛妓的心理壓力，但是弟弟卻總是我行我素，兩人常常發(fā)生爭執(zhí)。安東尼奧總是默默旁觀，小心翼翼地呵護著兩顆稚嫩的童心。在經歷了搶劫、酒店驅逐，學校開除、哮喘疾病等一連串霉運后，安東尼奧似乎跟姐弟倆建立一種亦父亦友的關系，然而一張報紙卻讓他們的世界陷入崩潰的邊緣…… 本片獲第45屆戛納電影節(jié)評委會大獎。
備注：已完結
類型：劇情片
主演：薩姆·德·格拉斯 Francelia Billington 埃里克·馮
導演：埃里克·馮·施特羅海姆
語言：英語
年代：未知
簡介：Two differences between this Austrian version and the generally available American version are immediately obvious they differ both in their length and in the language of the intertitles. The American version is only 1,883 metres long - at 18 frames per second a difference of some 7 minutes to the Austrian version with 2,045 metres. Whereas we originally presumed only a negligible difference, resulting from the varying length of the intertitles, a direct comparison has nevertheless shown that the Austrian version differs from the American version both in the montage and in the duration of individual scenes. Yet how could it happen that the later regional distribution of a canonical US silent film was longer than the original version The prevalent American version of Blind Husbands does not correspond to the version shown at the premiere of 1919. This little-known fact was already published by Richard Koszarski in 1983. The film was re-released by Universal Pictures in 1924, in a version that was 1,365 feet (416 metres) shorter. At 18 frames per second, this amounts to a time difference of 20 minutes! Titles were altered, snippets of action removed and at least one major scene taken out entirely, where von Steuben and Margaret visit a small local chapel. (Koszarski) From the present state of research we can assume that all the known American copies of the film derive from this shortened re-release version, a copy of which Universal donated to the Museum of Modern Art in 1941. According to Koszarski the original negative of the film was destroyed sometime between 1956 and 1961 and has therefore been irretrievably lost. This information casts an interesting light on the Austrian version, which can be dated to the period between the summer of 1921 and the winter of 1922. Furthermore, the copy is some 200 metres longer than the US version of 1924. If one follows the details given by Richard Koszarski and Arthur Lennig, this means that, as far as both its date and its length are concerned, the Austrian version lies almost exactly in the middle between the (lost) version shown at the premiere and the re-released one.A large part of the additional length of the film can be traced to cuts that were made to the 1924 version in almost every shot. Koszarski describes how the beginning and the end of scenes were trimmed, in order to speed up the film. However, more exciting was the discovery that the Austrian version contains shots that are missing in the American one - shotscountershots, intertitles - and furthermore shows differences in its montage (i.e. the placing of the individual shots within a sequence). All this indicates that Die Rache der Berge constitutes the oldest and most completely preserved material of the film.
