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備注：已完結(jié)
類型：劇情片
主演：Isabelle Weingarten Guillaume des F
導(dǎo)演：羅伯特·布列松
語言：法語
年代：未知
簡(jiǎn)介：年輕的畫家雅克從鄉(xiāng)間搭車前往巴黎。在到達(dá)巴黎的那個(gè)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(gè)夜晚，雅克和瑪爾特交換了彼此的人生故事，在瑪爾特的請(qǐng)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(gè)夜晚，雅克對(duì)瑪爾特的衷情終于得到回應(yīng)，瑪爾特也向雅克傾訴了愛意。第四個(gè)夜晚，正當(dāng)兩人挽手同行時(shí)，他們偶遇了瑪爾特原來的情人…… 本片改編自費(fèi)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：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(jiǎn)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(jìng)爭(zhēng)石油牧場(chǎng)。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(chǎng)一分為二。作為本土經(jīng)營(yíng)的卡貝拉石油公司的活潑而有競(jìng)爭(zhēng)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(dòng)一項(xiàng)翻新計(jì)劃，這將使她能夠?qū)?Cabella 擴(kuò)展到一個(gè)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(chǎng)，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(cái)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(diǎn)燃了兩派之間的競(jìng)爭(zhēng)，因?yàn)槟菘删芙^承認(rèn)他對(duì)這片土地的要求。當(dāng)?shù)氐娜章涔确ü贈(zèng)]有進(jìn)行漫長(zhǎng)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(gè)牧場(chǎng)贏得了一年一度的日落谷橄欖油競(jìng)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(gè)人沒有制造石油的經(jīng)驗(yàn)。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(shí)，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(diǎn)可能比他們想象的要多 - 火花開始飛揚(yáng)。
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(jiǎn)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：劇情片
主演：克里斯特爾·博登斯坦 Charles Hans Vogt Eckart
語言：其它
年代：未知
簡(jiǎn)介：前東德最好的一部超現(xiàn)實(shí)主義幻想?。 his is one of the most amazing looking,surreal films of all time and i only recently acquired it on video.it was just as good after fond childhood memories of it.highly recommended,with great special effects,and stunning set design,and vivid colour and cinematography.buy with confidence! This is as you remember watching it as a child. Lifelike, overtly coloured and full of magical splendor, terrifying nasties and surreal characters. In short, do not shy away from this opportunity to show a Christmas Special to your children in favour of the usual fare from Disney and co. Rather, pop a fresh batch of pop corn, get first dibs on the comfy chair and opt for what was arguably one of the highlights of East German children's programming.
備注：已完結(jié)
類型：愛情片
主演：赫伯特·巴尚 LucSimon LauraDukeCondominas
導(dǎo)演：羅伯特·布列松
語言：法語
年代：未知
簡(jiǎn)介：故事發(fā)生在尋找圣杯的最后幾天，當(dāng)亞瑟王的武士們策馬穿過一片充滿黑暗、險(xiǎn)象環(huán)生的叢林，一無所獲回到卡默洛特（亞瑟王的宮殿）后，他們的隊(duì)伍被解散，士氣頓失。在他們中間，一位名為蘭斯洛特的武士，對(duì)此次失敗感到深深自責(zé)。他認(rèn)為正是他和格溫娜維爾皇后的偷情摧毀了這次神圣的使命。失敗的陰影籠罩著一切，輝煌華麗的宮廷呈現(xiàn)出一個(gè)即將結(jié)束的年代的衰敗氣象。
備注：已完結(jié)
類型：劇情片
主演：Carlotta Barilli Lorenza Benedetti
導(dǎo)演：貝納爾多·貝托魯奇
語言：其它
年代：未知
簡(jiǎn)介：故事開始于羅馬城內(nèi)的一起兇殺案。一名妓女在臺(tái)伯河邊的公園中遇害，幾名案發(fā)當(dāng)夜出現(xiàn)在現(xiàn)場(chǎng)的相關(guān)人員被警方一一盤問：身無分文的年青人坎提聲稱最近在找工作，然而事實(shí)是他同兩名同伴在公園中伺機(jī)偷竊戀人們的物品；慣犯布斯德利久未與警方打交道，他在案發(fā)當(dāng)日白天約會(huì)了情人，然后與供養(yǎng)他的放債女友大吵了一架；士兵特奧多羅當(dāng)日則在街上糾纏陌生的女子們，他在公園的長(zhǎng)椅上昏昏睡去，但目擊了一名穿著拖鞋的可疑男子……可疑男子到案，向警方供述當(dāng)日自身的經(jīng)歷，同時(shí)將一對(duì)兒百無聊賴的年青人引入案情。不移時(shí)真相終于大白?！ ”酒且獯罄麑?dǎo)演貝托魯奇的處女作，根據(jù)帕索里尼的小說改編而來。
備注：已完結(jié)
類型：劇情片
主演：Eszter ónodi 蒂伯·加斯帕爾 Petra Hovanyec
語言：其它
年代：未知
簡(jiǎn)介：電影回顧了匈牙利風(fēng)雨飄搖的20世紀(jì)。一位92歲的匈牙利女性在與五十多歲女兒的對(duì)話中，回顧了她驚心動(dòng)魄的一生。她成長(zhǎng)于匈牙利動(dòng)蕩的年代，與一位帥氣的軍人一見鐘情，為了避免戰(zhàn)爭(zhēng)的沖突，她一生搬家了27次。電影以幽默和溫情的方式來呈現(xiàn)了這段不凡的個(gè)人經(jīng)歷。它不僅是一位女性的個(gè)人史，亦是匈牙利的國(guó)家歷史。
備注：已完結(jié)
類型：劇情片
主演：Jean-Bernard Guillard Philippe Depl
導(dǎo)演：勞爾·魯伊斯
語言：法語
年代：未知
簡(jiǎn)介：關(guān)于故事的故事，一切要從這年青學(xué)生的怪遭遇講起。 他剛殺了人，雙手血仍未冷，第一件要做的事，卻是到附近的舞場(chǎng)，聆聽這醉酒水手的傳奇一生。不記得多少年前，水手從自己的家鄉(xiāng)啟程，搭上一艘由幽靈駕駛的遠(yuǎn)航船。鬼船的詛咒是：他是唯一一個(gè)船上的生靈。鬼船在拉丁美洲各個(gè)港口漂蕩，水手隨船到處經(jīng)歷，在船上、妓院、碼頭間度過比神話更匪夷所思的歷險(xiǎn)。 這許多魔幻經(jīng)歷，滿有波赫士小說的魔幻神采，而以別創(chuàng)一格的視覺及美術(shù)效果呈現(xiàn)，反映出拉烏爾 魯茲(Raoul Ruiz)對(duì)超現(xiàn)實(shí)、表現(xiàn)主義影像的駕馭，可謂驚世駭俗。
