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備注：已完結(jié)
類型：劇情片
主演：阿里拉·巴勒 克里斯汀·弗勞賽斯 盧卡斯·蓋奇 福勒斯特·古德勒克 薩
導(dǎo)演：丹尼爾·歌德哈伯
語(yǔ)言：英語(yǔ)
年代：未知
簡(jiǎn)介：A crew of young environmental activists execute a daring mission to sabotage an oil pipeline, in director Daniel Goldhaber’s taut and timely thriller that is part high-stakes heist, part radical exploration of the climate crisis. Based on the controversial book by Andreas Malm.
備注：已完結(jié)
類型：劇情片
主演：馬雷克·瓦爾切夫斯基 伊薩貝拉·奧斯則瓦斯卡 埃娃·津泰克 達(dá)尼爾·奧
導(dǎo)演：安杰伊·瓦伊達(dá)
語(yǔ)言：其它
年代：未知
簡(jiǎn)介：Set at the turn of the century, the story concerns a Polish poet living in Cracow who has decided to marry a peasant girl. The wedding is attended by a heterogenous group of people from all strata of Polish society, who dance, get drunk and lament Poland's 100-year-long division of Poland under Russia, Prussia, and Austria. The bridegroom, a painter friend, and a journalist each in turn is confronted with spectres of Polish past. In the end a call to arms is called but turns out to be a hoax.
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類型：劇情片
主演：Kushtrim Hoxha Adriana Matoshi 埃米爾·
導(dǎo)演：伊斯梅特·錫金娜
語(yǔ)言：其它
年代：未知
簡(jiǎn)介：In the early '90s, the Yugoslavian Government cancelled the autonomy of Kosovo, dissolved its Parliament and closed down the National Television. All institutional life was reorganized by the new authorities, while the majority of the citizens responded with peaceful demonstrations. During this terrible time, Fadili, who works as an archivist, has to choose between two options, knowing that both of them are wrong. He therefore involuntarily and unwillingly swallows the shame, endures the pressure bearing down from all sides and puts up with the bad reputation for only one reason to provide for his family.
備注：已完結(jié)
類型：劇情片
主演：Gaston Modot Thomy Bourdelle Albert
導(dǎo)演：雷內(nèi)·克萊爾
語(yǔ)言：法語(yǔ)
年代：未知
簡(jiǎn)介：一個(gè)流浪巴黎的街頭歌手、他的好友以及一個(gè)兩人都心儀的姑娘，三人的戀愛(ài)關(guān)系支撐了整部電影，故事性十分貧eee。導(dǎo)演萊恩·克萊爾的曠世激情與浪漫洋溢在巴黎的狹小出租屋中。本片描寫了一個(gè)街頭歌手競(jìng)爭(zhēng)一個(gè)美麗姑娘的故事。通過(guò)歌曲對(duì)愛(ài)情和人性弱點(diǎn)的詼諧探索，世故的眼光和破天荒的新影音技術(shù)的使用捕獲了巴黎浮華的氣氛。
備注：已完結(jié)
類型：劇情片
主演：Sara Luna Zoric Lazar Dragojevic Er
導(dǎo)演：恩娜·森迪賈雷維奇
語(yǔ)言：其它
年代：未知
簡(jiǎn)介：這部影片講述了少女阿爾瑪不斷追尋自我身份的故事。阿爾瑪?shù)母改甘悄纤估蛉耍龔男≡诤商m長(zhǎng)大，因此認(rèn)為自己既不屬于東方，也不屬于西方。她的生活經(jīng)歷讓她早早明白了性的奧秘，卻依然對(duì)世界保有孩童般的純真。成年之際，阿爾瑪決定從荷蘭出發(fā)，在堂兄埃米爾和其朋友丹尼斯的陪伴下前往波斯尼亞，去見(jiàn)她從未謀面的父親。在這段離奇波折的旅途當(dāng)中，發(fā)生了許多意料之外的事，但無(wú)論如何，阿爾瑪都決定堅(jiān)持到底。在完成找到父親的計(jì)劃之前，她必須先找到真正的自我。
備注：已完結(jié)
類型：劇情片
主演：Eimutis Kvosciauskas 杜嘉克·伊迪茲 達(dá)里婭·葉卡
導(dǎo)演：洛馬斯·扎巴勞斯卡斯
語(yǔ)言：英語(yǔ),立陶宛語(yǔ),俄語(yǔ)
年代：未知
簡(jiǎn)介：影片講述兩個(gè)男人之間復(fù)雜的情感故事，gay社團(tuán)律師馬呂斯(Eimutis Kvosciauskas飾)的生活一直在流逝，他整日都在與朋友玩樂(lè)、追逐年輕的戀人。而當(dāng)馬呂斯疏遠(yuǎn)已久的父親去世。馬呂斯發(fā)現(xiàn)他與一名困在塞爾維亞貝爾格萊德的敘利亞難民、性工作者阿里(Do?a? Y?ld?z飾)有著意想不到的聯(lián)系，哀悼也悄然間轉(zhuǎn)變?yōu)榱藧?ài)情。
備注：已完結(jié)
類型：劇情片
主演：拉多萬(wàn)·盧卡夫斯基 古斯塔夫·瓦拉赫 艾米麗婭·瓦薩約娃 威廉·波洛尼
導(dǎo)演：愛(ài)德華·格萊納
語(yǔ)言：其它
年代：未知
簡(jiǎn)介：與Stefan Uher和Elo Havatta一樣，Eduard Grecner也是60年代斯洛伐克新浪潮電影的締造者之一。他的三部影片《一周七天》（1964）《尼絨月亮》（1965）和這部《徳拉克的回歸》都是斯洛伐克新浪潮電影的代表作。這部敘事方法獨(dú)特帶有明顯意識(shí)流風(fēng)格的黑白影片甚至間接影響到了后來(lái)法國(guó)導(dǎo)演格里耶在捷克拍攝的兩部影片《說(shuō)謊的人》和《Eden and After》?！ special place in the development of feature films is reserved for Eduard Grecner, the creator of just one good film, Dragon Returns (Drak sa vracia, 1967), titled after the nickname of the lead character. After his initial work with Uher, Grecner made his mark as a proponent of the so-called intellectual film, the antithesis of the sociologically, or rather, socially critical film. Grecner's great role model was Alan Resnais, a young French filmmaker who sought to introduce Slovakia to the idea of film as a labyrinth in which meanings are created not by stories, but by complex configurations of dialogue, shots, and various layers of time, thus differentiating film from both literature and theater. In Dragon Returns―the story of a solitary hero who is needed by villagers living far in the mountains, but who is rejected by them at the same time because of his detachment―Grecner brought the tradition of lyricized prose to life through a whole series of formal aesthetic techniques. Alain Robbe-Grillet immediately developed this idea in the film shot in Bratislava The Man Who Lies (Slovak Muz, ktory luze; French title L'homme qui ment; 1968), and perfected it in Eden and After (Eden a potom, 1970).
