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備注：已完結(jié)
類型：劇情片
主演：伊恩·夏普 Gina Bramhill 里克·沃登 Nicholas
語言：英語
年代：未知
簡介：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)
類型：劇情片
主演：Román Méndez de Hevia Emilio Menche
導(dǎo)演：Iván Fernández de Córdoba
語言：其它
年代：未知
簡介：Alonso is a skater who goes across Spain with the skate as his only means of transport. The road will force him to cross with characters that will change his life and they will discover the reason why Alonso does this curious and strange trip.
備注：已完結(jié)
類型：愛情片
主演：托莉·安德森 本·霍靈斯沃斯 GardinerMillar 赫羅斯加·
導(dǎo)演：皮特·德路易斯
語言：英語
年代：未知
簡介：幾十年來，卡貝拉石油公司和布蘭迪尼石油公司一直在競爭石油牧場。然而，情況并非總是如此。創(chuàng)始人 Raphael Brandini 和 Frank Cabella 曾經(jīng)和睦相處，直到他們的關(guān)系破裂，導(dǎo)致他們將共同的牧場一分為二。作為本土經(jīng)營的卡貝拉石油公司的活潑而有競爭力的繼承人，妮可卡貝拉決心證明她已準(zhǔn)備好掌管家族企業(yè)。她已經(jīng)準(zhǔn)備好啟動一項翻新計劃，這將使她能夠?qū)?Cabella 擴展到一個新的水平。一切就緒，直到杰克布蘭迪尼重新出現(xiàn)在日落谷，就是這樣。公司律師杰克因家庭緊急情況被召回主宰布蘭迪尼牧場，他從日常工作中分心。在那里，杰克發(fā)現(xiàn)了卡貝拉和布蘭迪尼財產(chǎn)之間的土地糾紛。由于疏忽了自己的家族公司，他決定為他們奪回土地。這樣做，他重新點燃了兩派之間的競爭，因為妮可拒絕承認(rèn)他對這片土地的要求。當(dāng)?shù)氐娜章涔确ü贈]有進(jìn)行漫長而昂貴的法庭訴訟，而是提出了一種非常規(guī)的方式來決定土地的所有權(quán)：無論哪個牧場贏得了一年一度的日落谷橄欖油競賽，都將贏得土地。布蘭迪尼家族已經(jīng)連續(xù)三年獲勝，因此杰克有信心接受挑戰(zhàn)，盡管他個人沒有制造石油的經(jīng)驗。另一方面，妮可的血液中充滿了油，但如果她想取得勝利，就必須克服自己的自我懷疑。當(dāng) Jake 和 Nicole 努力創(chuàng)作各自的橄欖油作品時，他們一邊享受著每年一度的秋季音樂節(jié)，一邊發(fā)現(xiàn)他們的共同點可能比他們想象的要多 - 火花開始飛揚。
備注：已完結(jié)
類型：喜劇片
主演：MichaelDixonAndrewHarwoodMillsDorse
導(dǎo)演：GaryDelaney
語言：英語
年代：未知
簡介：上班族德里克一直對橄欖球情有獨鐘，當(dāng)他得知美式橄欖球正在英國嶄露頭角時興奮之情溢于言表，他甚至想去五六十公里外的曼徹斯特參加球員選拔。但女友對比頗為不理解，認(rèn)定這是德里克背棄二人共同夢想的自私行為。不過，這并沒有影響德里克對橄欖球的執(zhí)著，為了能打橄欖球他開始奔波忙碌。不能參加其他球隊，他就自己組建球隊。這種運動精神吸引了很多同樣熱愛這項運動的朋友們加入。在德里克的帶領(lǐng)下，他們招攬球員，購置服裝，組建拉拉隊，鐵路捍衛(wèi)者隊誕生了。為了球隊的發(fā)展，他們想盡一切辦法去請專業(yè)的美國教練。教練詹姆斯·杜邦的加入讓這支球隊活力滿滿。但隨著人員增多，球隊開銷也在不斷增加，德里克因此背上了債務(wù)。正在躊躇苦惱之際，德里克心生一計，舉辦橄欖球比賽，收取門票。雖然門票計劃意外泡湯，但德里克實現(xiàn)了自己的橄欖球之夢。
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.
