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備注：已完結(jié)
類型：劇情片
主演：AidaMohammadkhani MohsenKafili Fere
導(dǎo)演：賈法·帕納西
語(yǔ)言：波斯語(yǔ)
年代：未知
簡(jiǎn)介：伊朗新年之前，小女孩納西亞（艾達(dá)?莫哈默德哈尼 Aida Mohammadkhani 飾）隨媽媽到集市購(gòu)買過(guò)年用品，路過(guò)馴蛇人的攤位，發(fā)現(xiàn)眾人圍觀，擠進(jìn)去才發(fā)現(xiàn)他正在吆喝，要觀眾掏錢看蛇類表演，并販賣肥大的金魚(yú)。納西亞很想買一只金魚(yú)，但是因?yàn)榧揖池毢瑡寢屖掷镏挥?00圖曼的過(guò)年錢，而一條魚(yú)要100圖曼，所以媽媽只得帶著納西亞回家。她本想用新年禮物跟媽媽討價(jià)還價(jià)，但卻被嚴(yán)詞拒絕。失望的她只得拜托哥哥幫忙，結(jié)果哥哥說(shuō)服了媽媽，把500圖曼給了她。納西亞把錢放進(jìn)小魚(yú)罐，興沖沖地跑到養(yǎng)蛇人的攤位，準(zhǔn)備滿足心愿。然而事情在此突然發(fā)生了轉(zhuǎn)機(jī)……
備注：已完結(jié)
類型：劇情片
主演：Pavle Cemerikic Sumeja Dardagan 賈斯敏
導(dǎo)演：伊戈?duì)枴さ聽(tīng)柪麃喦?/a>
語(yǔ)言：波斯尼亞語(yǔ),英語(yǔ)
年代：未知
簡(jiǎn)介：青少年法魯克和朋友靠幫黑手黨做事為生，直到他遇到中產(chǎn)階級(jí)女孩莫娜，一段青春期的浪漫愛(ài)情由此萌發(fā)。影片徘徊在驚悚片和童話故事之間，灰暗現(xiàn)實(shí)與迷人夢(mèng)境互相交織，極富油畫(huà)質(zhì)感的布光、舒緩的鋼琴旋律襯托出年輕人的迷惘與哀愁。波黑導(dǎo)演伊戈?duì)枴さ聽(tīng)柪麃啈{借一個(gè)浪漫愛(ài)情故事之殼，展現(xiàn)戰(zhàn)后薩拉熱窩的社會(huì)氛圍，以及不同階層的生活狀況。本片入圍2021年柏林電影節(jié)新生代青年競(jìng)賽單元。
備注：已完結(jié)
類型：劇情片
主演：恩里克·洛維索 Valentina Scalici Giuseppe
導(dǎo)演：吉安尼·阿梅利奧
語(yǔ)言：其它
年代：未知
簡(jiǎn)介：羅塞塔（瓦倫蒂娜?斯卡里希 Valentina Scalici 飾）和盧恰諾（朱塞佩?伊拉西塔諾 Giuseppe Ieracitano 飾）是一對(duì)相依為命的姐弟，她們的母親因?yàn)楸婆畠嘿u淫而鋃鐺入獄。此事遭媒體曝光后，兩人隨后被兩個(gè)警察送上了去孤兒院的列車。其中一個(gè)警察因事先行告退，將姐弟倆托付給警察安東尼奧（恩里克?洛維索 Enrico Lo Verso 飾）獨(dú)自看護(hù)。姐姐背負(fù)著雛妓的心理壓力，但是弟弟卻總是我行我素，兩人常常發(fā)生爭(zhēng)執(zhí)。安東尼奧總是默默旁觀，小心翼翼地呵護(hù)著兩顆稚嫩的童心。在經(jīng)歷了搶劫、酒店驅(qū)逐，學(xué)校開(kāi)除、哮喘疾病等一連串霉運(yùn)后，安東尼奧似乎跟姐弟倆建立一種亦父亦友的關(guān)系，然而一張報(bào)紙卻讓他們的世界陷入崩潰的邊緣…… 本片獲第45屆戛納電影節(jié)評(píng)委會(huì)大獎(jiǎng)。
備注：已完結(jié)
類型：劇情片
主演：薩姆·德·格拉斯 Francelia Billington 埃里克·馮
導(dǎo)演：埃里克·馮·施特羅海姆
語(yǔ)言：英語(yǔ)
年代：未知
簡(jiǎn)介：Two differences between this Austrian version and the generally available American version are immediately obvious they differ both in their length and in the language of the intertitles. The American version is only 1,883 metres long - at 18 frames per second a difference of some 7 minutes to the Austrian version with 2,045 metres. Whereas we originally presumed only a negligible difference, resulting from the varying length of the intertitles, a direct comparison has nevertheless shown that the Austrian version differs from the American version both in the montage and in the duration of individual scenes. Yet how could it happen that the later regional distribution of a canonical US silent film was longer than the original version The prevalent American version of Blind Husbands does not correspond to the version shown at the premiere of 1919. This little-known fact was already published by Richard Koszarski in 1983. The film was re-released by Universal Pictures in 1924, in a version that was 1,365 feet (416 metres) shorter. At 18 frames per second, this amounts to a time difference of 20 minutes! Titles were altered, snippets of action removed and at least one major scene taken out entirely, where von Steuben and Margaret visit a small local chapel. (Koszarski) From the present state of research we can assume that all the known American copies of the film derive from this shortened re-release version, a copy of which Universal donated to the Museum of Modern Art in 1941. According to Koszarski the original negative of the film was destroyed sometime between 1956 and 1961 and has therefore been irretrievably lost. This information casts an interesting light on the Austrian version, which can be dated to the period between the summer of 1921 and the winter of 1922. Furthermore, the copy is some 200 metres longer than the US version of 1924. If one follows the details given by Richard Koszarski and Arthur Lennig, this means that, as far as both its date and its length are concerned, the Austrian version lies almost exactly in the middle between the (lost) version shown at the premiere and the re-released one.A large part of the additional length of the film can be traced to cuts that were made to the 1924 version in almost every shot. Koszarski describes how the beginning and the end of scenes were trimmed, in order to speed up the film. However, more exciting was the discovery that the Austrian version contains shots that are missing in the American one - shotscountershots, intertitles - and furthermore shows differences in its montage (i.e. the placing of the individual shots within a sequence). All this indicates that Die Rache der Berge constitutes the oldest and most completely preserved material of the film.
備注：已完結(jié)
類型：劇情片
主演：約翰·韋斯利·希普 布雷特·阿扎爾 Allison Mackie Ja
導(dǎo)演：Andrew Lyman-Clarke
語(yǔ)言：英語(yǔ)
年代：未知
簡(jiǎn)介：A skateboarder investigating the mysterious death of his roommate is led into the inner workings of a self-help company, and the pharmaceutical lab behind it.
備注：已完結(jié)
類型：動(dòng)畫(huà)片
主演：安東尼奧·班德拉斯 薩爾瑪·海耶克 扎克·加利凡納基斯 比利·鮑伯·松
導(dǎo)演：克里斯·米勒
語(yǔ)言：英語(yǔ) / 西班牙語(yǔ)
年代：未知
簡(jiǎn)介：他是一只穿靴子的貓（安東尼奧·班德拉斯 Antonio Banderas 配音），多年來(lái)行俠仗義，行走江湖，劍術(shù)高明，膽大賣萌，雖是官兵通緝捉拿的要犯，但從來(lái)都無(wú)所畏懼，泰然自若。在某個(gè)極不友好的小酒館里，靴貓聽(tīng)說(shuō)杰克（Billy Bob Thornton 配音）和吉爾 （Amy Sedaris 配音）這對(duì)雌雄惡棍拿到了傳說(shuō)中的魔豆，魔豆長(zhǎng)出的豆莢直通巨人的宮殿，而那里住著令人垂涎可以下金蛋的鵝。靴貓決定鋌而走險(xiǎn)劫掠魔豆，卻遭到神秘的黑貓阻撓。在黑貓引誘下，他來(lái)到一處貓兒聚會(huì)的場(chǎng)所，結(jié)果意外遇到當(dāng)年孤兒院的好友矮蛋（Zach Galifianakis 配音），黑貓則是性感的小母貓咪·柔爪（薩爾瑪·海耶克 Salma Hayek 配音）。
備注：已完結(jié)
類型：劇情片
主演：揚(yáng)·利比切克 瓦茨拉夫·巴布卡 約瑟夫·貝克 Karel Belohr
導(dǎo)演：埃瓦爾德·朔爾姆
語(yǔ)言：其它
年代：未知
簡(jiǎn)介：This apocalyptic parable carries within it a clear echo of the 1968 invasion of Czechoslovakia. This unforgiving exploration of the Czech mentality tells the tale of a troupe of wandering actors who perform a passion play in some unnamed village. Fear of some unknown danger breaks out in the village, which is cut off from the surrounding world. Stupidity, selfishness and aggressiveness then come to the surface in this society under threat. In the film's key scene, a woman is raped by the self-styled leader. Zdenuk Mahler, who would later work on Forman's examination Mozart Amadeus, worked on the script. The director Evald Schorm (1929-1988) was one of the most original members of the Czech New Wave. During the normalization era, Schorm spent many years unable to direct. His last film, Killing with Kindness (1988) was only made in the twilight years of Communism. During that period when he was unable to direct films, he became an outstanding stage director. He directed groundbreaking productions at the Na zábradlí Theater and Laterna Magika.
