備注：已完結(jié)
類型：劇情片
主演：丹尼斯·奎德 富田譚玲 夏野薩博 Shizuko Hoshi Stan
導演：艾倫·帕克
語言：英語
年代：未知
簡介：甚少有電影提到二次大戰(zhàn)美國的亞洲人集中營的事。本片就是少數(shù)中的少數(shù)，透過美國人和亞洲人的眼同時看見歷史上的痛。一九三0年代，在紐約工會組織工作杰克（丹尼斯·奎德飾），有天在一樁爆炸案發(fā)生后，發(fā)現(xiàn)自己一直相信工會，其實也不一定全是對的。于是他離開美國東岸，來到洛杉磯。一名住在小日本區(qū)的日本婦人收留了他，讓他在她的店里工作，這時杰克對她的女兒莉莉一見鐘情，兩人長久相處下，決定結(jié)婚，但當時加州的法律對于異族婚姻有相當多的限制，唯恐外國人藉此取得綠卡。為了想擁有合法的婚姻，他們索性搬到西雅圖定居。
備注：已完結(jié)
類型：劇情片
主演：大衛(wèi)·林奇 Jack Cruz Toototabon Emily St
導演：大衛(wèi)·林奇
語言：英語
年代：未知
簡介：In a locked down train station, a homicide detective conducts an interview with a tormented monkey.
備注：已完結(jié)
類型：劇情片
主演：斯坦索·羅爾·斯坦索森 EddaBj?rgvinsdóttir 西德格
語言：冰島語
年代：未知
簡介：一個男人被其未婚妻指控通奸，從而被迫搬回家與父母同居。當他為四歲女兒的監(jiān)護權(quán)而戰(zhàn)時，也逐漸卷入了父母和鄰居由于一棵美麗的古樹而起的爭執(zhí)。影片探討了普通人之間的荒謬斗爭，在其現(xiàn)實主義的基調(diào)下有著喜劇和驚悚元素。片中尖刻和諷刺的地方或許顯得夸張，但也揭示了中產(chǎn)階級背后的真相。
備注：已完結(jié)
類型：劇情片
主演：Luca Zingaretti Dino Abbrescia Brun
語言：其它
年代：未知
簡介：富有的工業(yè)家丹蒂·比拉迪內(nèi)里離開工廠時在女兒面前被綁架。鑒于綁匪的兇殘本性，長官們要求萬利瑞奧指揮的特種部隊參與營救。也因此將患有嚴重心臟病的七歲女孩史戴拉和他的父親分開了。父親有一次讓女兒失望，因為工作要求又不能陪女兒了。因為這次任務，萬利瑞奧不得不從最勇敢的戰(zhàn)士中選出最勇敢的四個人和他一起參加行動，盡管這四個人沒有任何經(jīng)驗。隨著事件錯綜復雜的不斷發(fā)展，綁匪似乎越來越貪婪，他們不斷撕毀協(xié)議，給警方采取最后行動制造困難。 萬利瑞奧的內(nèi)心在責任感和重病中的女兒之間斗爭著，最后他決定把工作放在第二位，回到病床上女兒的身邊。就在這時，小組中的每一個成員都發(fā)現(xiàn)他們不得不在個人問題和共同的任務之間做出抉擇。行動已經(jīng)開始，不到最后決戰(zhàn)不會停止。所有的人物命運最終都將發(fā)生改變。小組成員們從最初的勾心斗角變成現(xiàn)在敢于冒生命危險的團結(jié)的整體，而史戴拉。。。
備注：已完結(jié)
類型：劇情片
主演：盧卡·津加雷蒂 Dino Abbrescia 馬可·科奇
語言：英語
年代：未知
簡介：富有的工業(yè)家丹蒂·比拉迪內(nèi)里離開工廠時在女兒面前被綁eee。鑒于綁匪的兇殘本性，長官們要求萬利瑞奧指揮的特種部隊參與營救。也因此將患有嚴重心臟病的七歲女孩史戴拉和他的父親分開了。父親又一次讓女兒失望，因為工作要求又不能陪女兒了。因為這次任務，萬利瑞奧不得不從最勇敢的戰(zhàn)士中選出最勇敢的四個人和他一起參加行動，盡管這四個人沒有任何經(jīng)驗。隨著事件錯綜復雜的不斷發(fā)展，綁匪似乎越來越貪婪，他們不斷撕毀協(xié)議，給警方采取最后行動制造困難。r萬利瑞奧的內(nèi)心在責任感和重病中的女兒之間斗爭著，最后他決定把工作放在第二位，回到病床上女兒的身邊。就在這時，小組中的每一個成員都發(fā)現(xiàn)他們不得不在個人問題和共同的任務之間做出抉擇。行動已經(jīng)開始，不到最后決戰(zhàn)不會停止。所有的人物命運最終都將發(fā)生改變。小組成員們從最初的勾心斗角變成現(xiàn)在敢于冒生命危險的團結(jié)的整體，而史戴拉也挺過了醫(yī)院的手術(shù)，她將重新建立對父親的信任。
備注：已完結(jié)
類型：劇情片
主演：Isabelle Weingarten Guillaume des F
導演：羅伯特·布列松
語言：法語
年代：未知
簡介：年輕的畫家雅克從鄉(xiāng)間搭車前往巴黎。在到達巴黎的那個夜晚，他偶遇了正想投河自殺的瑪爾特。雅克救下了她，并陪她回家，他們相約轉(zhuǎn)天晚上再見面。第二個夜晚，雅克和瑪爾特交換了彼此的人生故事，在瑪爾特的請求下，雅克成了瑪爾特和她情人間的信使。然而，那位絕情的情人并沒回信，這讓瑪爾特非常失落。在接下來的兩個夜晚，雅克對瑪爾特的衷情終于得到回應，瑪爾特也向雅克傾訴了愛意。第四個夜晚，正當兩人挽手同行時，他們偶遇了瑪爾特原來的情人…… 本片改編自費奧多爾·陀思妥耶夫斯基的短篇小說《白夜》。
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.
