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備注：已完結(jié)
類型：劇情片
主演：Slavka Ankova Emiliya Myrynska Ivan
導(dǎo)演：蘭赫爾·伍爾恰諾夫
語(yǔ)言：其它
年代：未知
簡(jiǎn)介：This is a story of lifetime. A story full of spiritual power biography, behind which stays a whole age in the national development of Bulgaria. Reality Fantasy, 6 May 2006 Author lordsin from Bulgaria This is one of the best movies I've seen. Some may say it has no sense, but if you look closely you'll notice that this movie is a philosophical masterpiece. It shows several scenes of life in the village and then the brilliant Rangel Vulchanov puts reality into a boy's fantasies. The movie jumps from birth to death, from wedding to funeral, from joy to sorrow, from reality to fantasy, from war to peace. There are lots of laughable moments for the comedy fans, and there's drama for the drama fans. You won't forget this movie once you've seen it. It's a true gem! It will give you all you want even more...One of the best Bulgarian movies ever made. Better than all of the French movies altogether!
備注：已完結(jié)
類型：劇情片
主演：哈里森·福特 布萊恩·丹內(nèi)利 勞爾·胡里亞 邦妮·比蒂麗婭 保羅·溫菲
導(dǎo)演：艾倫·J·帕庫(kù)拉
語(yǔ)言：英語(yǔ)
年代：未知
簡(jiǎn)介：拉斯迪（哈里森·福特 Harrison Ford 飾）在檢察院里打拼多年，最終成為了首席檢察官。某日，助理檢察官卡洛琳（格列塔·斯卡奇 Greta Scacchi 飾）出現(xiàn)在了拉斯迪的身邊，主動(dòng)對(duì)他投懷送抱。原來(lái)，卡洛琳覬覦拉斯迪的首席檢察官之位已久，她希望幫助拉斯迪坐上監(jiān)察處處長(zhǎng)的職位，自己則可以漁翁得利。
備注：已完結(jié)
類型：劇情片
主演：梅格·瑞恩 黛安·基頓 麗莎·庫(kù)卓 沃爾特·馬修 亞當(dāng)·阿金 肖恩·杜
導(dǎo)演：黛安·基頓
語(yǔ)言：
年代：未知
簡(jiǎn)介：年老的勞（沃爾特·馬修飾）有三個(gè)女兒，可是他很少與女兒們見(jiàn)面，平常女兒們都只是打電話詢問(wèn)老父親的情aaa。身為婦女雜志主編的大女兒?jiǎn)碳I（黛安·基頓飾）每天的工作都非常繁忙，身居要職的她每天都在努力工作；二女兒艾薇（梅格·瑞恩飾）美麗動(dòng)人，但也同樣與父親缺少溝通；至于三女兒則是個(gè)演員，雖然不是大紅大紫，但她很享受自己的工作。父親從來(lái)都很少照顧女兒們，也很少關(guān)心她們的生活，無(wú)形中也成為了女兒與父親之間的隔閡。父親有自己孤獨(dú)的晚年生活，女兒們也有各自要忙碌的工作與生活?？墒钱?dāng)有一天，三姐妹接到老父親病倒的消息，都紛紛趕到了父親的身邊……
備注：已完結(jié)
類型：劇情片
主演：Anders Borchgrevink Filip Mathias E
語(yǔ)言：其它
年代：未知
簡(jiǎn)介：Lillebror moves with Knerten and his family to the western part of Norway, but dreams of even bigger expeditions, like going to the North Pole.
備注：已完結(jié)
類型：愛(ài)情片
主演：安東尼奧·班德拉斯 艾瑪·湯普森 瑪麗亞·卡納爾斯-巴雷拉 盧賓·布雷
導(dǎo)演：克里斯托弗·漢普頓
語(yǔ)言：英語(yǔ) / 西班牙語(yǔ)
年代：未知
簡(jiǎn)介：故事發(fā)生在風(fēng)景如詩(shī)如畫(huà)的阿根廷布宜諾斯艾利斯?？逅梗ò矕|尼奧·班德拉斯 Antonio Banderas 飾）是一名劇作家，因?yàn)閯?chuàng)作過(guò)幾個(gè)成功的劇本而擁有著不小的名氣?？逅购推拮游魑骼騺啠ò敗丈?Emma Thompson 飾）結(jié)婚多年，兩人之間的感情一直十分恩愛(ài)。西西莉亞是一名記者，在業(yè)內(nèi)小有名氣，她和卡洛斯一直被朋友們視為一對(duì)金童玉女，十分相配。
備注：已完結(jié)
類型：愛(ài)情片
主演：凱文·科斯特納 凱利·普雷斯頓 約翰·C·賴?yán)?/a> 吉娜·馬隆 布萊恩·考
導(dǎo)演：山姆·雷米
語(yǔ)言：英語(yǔ)
年代：未知
簡(jiǎn)介：在底特律老虎隊(duì)服役19年的靈魂人物比利契波（凱文科斯納飾演）面臨生命的低谷：這個(gè)賽季球隊(duì)表現(xiàn)不佳，自己的舊傷復(fù)發(fā)，老東家將出售球隊(duì)，新東家一接手就將把他轉(zhuǎn)會(huì)，他的女朋友珍歐柏瑞（凱莉普瑞斯頓飾演）要遠(yuǎn)赴英國(guó)。在充滿敵意的客場(chǎng)上，他孤零零地站在投手板上，奮力的投出每一球，并且重新審視自己的一生。
備注：已完結(jié)
類型：劇情片
主演：Artúr Somlay Miklós Gábor Zsuzsa Bá
語(yǔ)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：Martin Gjorgoski 丹尼茲·阿布杜拉 尼古拉·里斯坦諾夫
導(dǎo)演：瓦爾丹·托茲加
語(yǔ)言：其它
年代：未知
簡(jiǎn)介：由瓦爾丹·托茲加編劇執(zhí)導(dǎo)，主要講述年輕人在犯罪道路上的經(jīng)歷。在一個(gè)由權(quán)力決定公平的國(guó)度，主人公菲利浦生活在青少年收養(yǎng)中心，在一個(gè)腐敗警察的脅迫下，他被迫參與了一次可怕的案件，因而產(chǎn)生無(wú)法痊愈的心理創(chuàng)傷。盡管菲利浦擁有其老師的幫助、收養(yǎng)中心的照料、朋友佩塔爾的安慰，他最終還是未能戰(zhàn)勝那次案件后的心理創(chuàng)傷帶給他的痛苦。痛苦吞噬了他的理智，產(chǎn)生復(fù)仇之念，致使他將更多年輕人拉入他殘酷命運(yùn)的深淵。最終菲利浦通過(guò)其暴力、兇猛的手段，將迷失的年輕人帶進(jìn)了黑暗、暴力的犯罪世界。
