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備注：已完結(jié)
類型：劇情片
主演：Eckart Bruntjen Rainer Kirchner 古斯塔
導(dǎo)演：達(dá)尼埃爾·于伊耶 讓-馬里·斯特勞布
語(yǔ)言：其它
年代：未知
簡(jiǎn)介：影片拍攝于1967年，是至今為止關(guān)于偉大的音樂(lè)家巴赫最優(yōu)秀的影片，片名來(lái)源于英國(guó)作家同名小說(shuō)，片中引用的對(duì)話、信件都取自巴赫生前的真實(shí)文件檔案。影片幾乎匯集了當(dāng)時(shí)音樂(lè)演奏界的精英，如哈儂考特、奧古斯特·溫欽格等，具有非常高的史料價(jià)值。與我們平日看到肖像畫(huà)上胖而結(jié)實(shí)的巴赫完全不同，由著名鋼琴演奏家和指揮家古斯塔夫·萊昂哈扮演的巴赫顯得瘦小文弱。影片問(wèn)世后得到了當(dāng)時(shí)影評(píng)界的激賞。
備注：已完結(jié)
類型：劇情片
導(dǎo)演：保羅·紐曼
語(yǔ)言：英語(yǔ)
年代：未知
簡(jiǎn)介：[小學(xué)老師瑞秋（喬安娜·伍德沃德JoanneWoodward飾）已經(jīng)三十五歲了，卻依然過(guò)著形單影只的孤獨(dú)生活，父親去世，她和母親（KateHarrington飾）之間的關(guān)系愈發(fā)緊張起來(lái)。在學(xué)校里，瑞秋的同事卡拉（艾絲特爾·帕森斯EstelleParsons飾）似乎對(duì)瑞秋頗為傾心，但瑞秋對(duì)她則毫無(wú)感覺(jué)。某日，瑞秋遇見(jiàn)了曾經(jīng)的高中同學(xué)尼克（JamesOlson飾），在尼克的帶領(lǐng)和誘惑下，她第一次品嘗到了激情的甜美滋味。然而，正當(dāng)瑞秋決定和尼克展開(kāi)一段全新戀情之時(shí)，卻發(fā)現(xiàn)，尼克是一個(gè)徹頭徹尾的花花公子，可是，即便如此，單純善良的瑞秋依舊付出了她的真心，得到的卻是無(wú)情的拒絕。人生對(duì)于瑞秋來(lái)說(shuō)還很漫長(zhǎng)，但她覺(jué)得自己已經(jīng)老了。]
備注：已完結(jié)
類型：劇情片
主演：拉多萬(wàn)·盧卡夫斯基 古斯塔夫·瓦拉赫 艾米麗婭·瓦薩約娃 威廉·波洛尼
導(dǎo)演：愛(ài)德華·格萊納
語(yǔ)言：其它
年代：未知
簡(jiǎn)介：與Stefan Uher和Elo Havatta一樣，Eduard Grecner也是60年代斯洛伐克新浪潮電影的締造者之一。他的三部影片《一周七天》（1964）《尼絨月亮》（1965）和這部《徳拉克的回歸》都是斯洛伐克新浪潮電影的代表作。這部敘事方法獨(dú)特帶有明顯意識(shí)流風(fēng)格的黑白影片甚至間接影響到了后來(lái)法國(guó)導(dǎo)演格里耶在捷克拍攝的兩部影片《說(shuō)謊的人》和《Eden and After》。 A special place in the development of feature films is reserved for Eduard Grecner, the creator of just one good film, Dragon Returns (Drak sa vracia, 1967), titled after the nickname of the lead character. After his initial work with Uher, Grecner made his mark as a proponent of the so-called intellectual film, the antithesis of the sociologically, or rather, socially critical film. Grecner's great role model was Alan Resnais, a young French filmmaker who sought to introduce Slovakia to the idea of film as a labyrinth in which meanings are created not by stories, but by complex configurations of dialogue, shots, and various layers of time, thus differentiating film from both literature and theater. In Dragon Returns―the story of a solitary hero who is needed by villagers living far in the mountains, but who is rejected by them at the same time because of his detachment―Grecner brought the tradition of lyricized prose to life through a whole series of formal aesthetic techniques. Alain Robbe-Grillet immediately developed this idea in the film shot in Bratislava The Man Who Lies (Slovak Muz, ktory luze; French title L'homme qui ment; 1968), and perfected it in Eden and After (Eden a potom, 1970).
備注：已完結(jié)
類型：劇情片
主演：Theodoros Katsadramis Lina Triantaf
導(dǎo)演：西奧·安哲羅普洛斯 Theodoros Angelopoulos
語(yǔ)言：其它
年代：未知
簡(jiǎn)介：安哲學(xué)生時(shí)代的短片作品。
備注：已完結(jié)
類型：劇情片
主演：格利高里·派克 愛(ài)娃·瑪麗·森特 羅伯特·福斯特
導(dǎo)演：羅伯特·馬利根
語(yǔ)言：英語(yǔ)
年代：未知
簡(jiǎn)介：本片描述一位剛退休的偵察兵，由于好心收留了一位曾經(jīng)被印第安俘虜多年的白人女子及她那混血兒子，于是受到兒子的神秘殺手父親追蹤尋仇。全片三分之二以上的時(shí)間，是發(fā)生在西部山巔之間的追蹤和暗殺。導(dǎo)演羅伯特．馬利根揚(yáng)棄一般西部片慣見(jiàn)的激烈槍?xiě)?zhàn)場(chǎng)面，著力以沉緩的鏡頭運(yùn)動(dòng)和富于懸疑色彩的構(gòu)圖來(lái)醞釀緊驚險(xiǎn)的氣氛。但是，由于導(dǎo)演過(guò)分著重驚險(xiǎn)懸疑的氣氛營(yíng)造，對(duì)于劇情的充實(shí)，和角色內(nèi)心世界的刻畫(huà)就相對(duì)地顯得簡(jiǎn)單而浮泛。格利高里．派克扮演老斥侯華納，演來(lái)十分賣力，但表情稍嫌刻板化，不及扮演尼克的羅伯特．弗斯特那么靈活和討好。
備注：已完結(jié)
類型：劇情片
主演：伯特·蘭卡斯特 珍妮特·蘭德格拉德 簡(jiǎn)妮絲·魯爾
語(yǔ)言：英語(yǔ)
年代：未知
簡(jiǎn)介：一個(gè)炎熱的下午，一名男子僅穿著一件泳褲出現(xiàn)在一個(gè)森林中，然后他快步來(lái)到游泳池，一個(gè)猛子扎進(jìn)去，盡情的游泳。這個(gè)人叫做奈德，游泳池的主人及鄰居們都和他很熟。面對(duì)蔚藍(lán)色的游泳池，奈德突發(fā)奇想——通過(guò)每個(gè)家庭緊挨著的游泳池“游泳回家”，中間的路程靠徒步完成。在途中，他遇到各式各樣的熟人，有的熱情，有的嘲弄他，有些人對(duì)他反感……當(dāng)他游到自家門口時(shí)才發(fā)現(xiàn)，他的家只是個(gè)破破爛爛的空房子。
備注：已完結(jié)
類型：劇情片
主演：馬里烏什·德莫霍夫斯基 貝婭塔·蒂?；S茨 菲耶夫斯基·塔德烏什 Ja
導(dǎo)演：沃伊切赫·哈斯
語(yǔ)言：其它
年代：未知
簡(jiǎn)介：The Doll is an adaptation of the novel, The Doll (novel) by Boles?aw Prus, which is regarded by many as one of the finest Polish novels ever written and, along with Pharaoh (novel), made Boles?aw Prus a potential candidate for the Nobel Prize in literature. The influence of émile Zola is evident, and some have compared the novel to Madame Bovary by Gustave Flaubert; both were Prus's contemporaries. The movie, however, may be more compared to Stendhal's Le Rouge et le Noir, (The Red and the Black). The Doll constitutes a panorama of life in Warsaw between 1878 and 1879, and at the same time is a subtle story of three generations of Polish idealists, their psychological complications, their involvement in the history of the nineteenth century, social dramas, moral problems and the experience of tragic existence. At the same time this story describes the disintegration of social relationships and the growing separation of a society whose aristocratic elite spreads the models of vanity and idleness. In the bad air of a backward country, anti-Semitic ideas are born, valuable individuals meet obstacles on their way, and scoundrels are successful. This poetic love story follows a nouveau riche merchant, Stanislaw Wokulski, through a series of trials and tribulations occasioned by his obsessive passion for an aristocratic beauty, Izabela Lecka, played by the famous Polish actress, Beata Tyszkiewicz. Plot As a descendant of an impoverished Polish noble family, young Wokulski is forced to work as a waiter at Hopfer's, a Warsaw restaurant, while dreaming of a life in science. After taking part in the failed 1863 Uprising against Tsarist Russia, he is sentenced to exile in Siberia. On eventual return to Warsaw, he becomes a salesman at Mincel's haberdashery. Marrying the late owner's widow (who eventually dies), he comes into money and uses it to set up a partnership with a Russian merchant he had met while in exile. The two merchants go to Bulgaria during the Russo-Turkish War of 1877-78, and Wokulski makes a fortune supplying the Russian Army. The enterprising Wokulski now proves a romantic at heart, falling in love with Izabela, daughter of the vacuous, bankrupt aristocrat, Tomasz ??cki. In his quest to win Izabela, Wokulski begins frequenting theatres and aristocratic salons; and to help her financially distressed father, founds a company and sets the aristocrats up as shareholders in his business.The indolence of these aristocrats, who secure with their pensions, are too lazy to undertake new business risks, frustrates Wokulski. His ability to make money is respected but his lack of family and social rank is condescended to. Because of his help (in secret) to Izabela's impecunious but influential father, the girl becomes aware of his affection. In the end she consents to accept him, but without true devotion or love.(wikipedia)
備注：已完結(jié)
類型：劇情片
導(dǎo)演：Grigori Aronov Aleksei German
語(yǔ)言：其它
年代：未知
簡(jiǎn)介：The Seventh Companion (Russian Седьмой спутник, translit. Sedmoy Sputnik) is a 1967 black-and-white Soviet film set in St. Petersburg in the years following the Russian Revolution; its title is commonly translated as The Seventh Companion. The film marked the directorial debut of Russian director Aleksei German, who co-directed it with Grigori Aronov. The film is based on a novel by Boris Lavrenyov.
