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備注：已完結(jié)
類型：喜劇片
導(dǎo)演：Niyi Akinmolayan
語言：英語
年代：未知
簡介：比克羅夫特一家準(zhǔn)備花掉族長老爹的所有遺產(chǎn)，但前提是他公司的首席執(zhí)行官不插手此事。
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.
備注：已完結(jié)
類型：劇情片
主演：Ben Wang
導(dǎo)演：Jingyi Shao
語言：英語
年代：未知
簡介：“Chiang Can Dunk” centers on an Asian American teen and basketball fan who wants to be able to dunk, but he soon learns much more about himself, his friends and his family.
備注：已完結(jié)
類型：劇情片
導(dǎo)演：嘉博·雷茲 Miklós Horváth Bálint Gy?riványi
語言：匈牙利語
年代：未知
簡介：Aron，快將三十，剛畢業(yè)，缺工作，連找工也由老媽寫CV，唯一成就是有個可愛女友，結(jié)果女友背他劈腿，人生至此已走至頹廢盡頭。每次想靜靜哀悼戀情，總被閒人瑣事纏身，面容呆滯，生活失焦，淪為他人世界的路人甲。直至一次酒後胡塗，錯手刷卡買下機票，遠離家鄉(xiāng)布達佩斯的陰霾，才在異國的陽光下重拾節(jié)奏。 匈牙利新進導(dǎo)演以平實手法，不以花巧鏡頭，靠著跳脫的敘事節(jié)奏及精準(zhǔn)的人物呈現(xiàn)看似即興的安排，幽默有趣地用鏡頭捕捉現(xiàn)實社會下的「偽文青」心底事。這部魅力過人的清新首作，在各大歐洲電影節(jié)大放異彩，成為不少影評人的特別推介。 2014 意大利都靈電影節(jié)-評審團特別獎 2014 法國南特國際電影節(jié)
備注：已完結(jié)
類型：恐怖片
導(dǎo)演：Mumtaz Yildirimlar
語言：英語
年代：未知
簡介：When Hannah's parents took her to a new school, they said it was to give her a new start. However, Hannah is 11, autistic, and due to her condition, unable to speak. She had a twin called Angel, but when Angel died, Hannah was forbidden to grieve by her abusive parents and punished when she sought comfort from her sister's things. Now Hannah lives locked inside a silent life of despair, which she fears will soon end at the hands of her parents. However, when a knife keeps appearing under her pillow, and a voice that she thinks is inside her head won't leave her alone, Hannah begins to realise that just maybe, she may have an ally not of this world, but fear paralyses her. Could it be Angel, who from the 'other side' has come to seek justice for all the abuse she has suffered Can Hannah overcome her fear enough to let her in - Written by Jane Alexandra Foster
備注：已完結(jié)
類型：劇情片
主演：陳穎芝 何民居 曾玉茹 洪鋒 金彪 猛丁哥 韓國材 谷峰 長玉韻 陳
導(dǎo)演：Hing Fai Yip
語言：粵語
年代：未知
簡介：[俊生是周爺?shù)母蓛鹤?，很受周爺?shù)南矏酆托湃?，周爺甚至將自己的產(chǎn)業(yè)全部交給了俊生打理。小琪是周爺?shù)呐畠?，單純善良的她愛上了俊生，然而小琪并不知道的是，俊生實際上是一個敗絮其中的壞蛋，他不僅利用公司為幌子做了許多不法勾當(dāng)，更有一位名叫麗娜的情夫伴隨在左右。一次偶然中，周爺?shù)弥丝∩乃魉鶠?，憤怒和失望之下，周爺喝令俊生將公司交換，為了保住自己的地位，俊生將周爺殺害，更企圖得到小琪，以此控制住周家的產(chǎn)業(yè)。紙終究包不住火，小琪知道了俊生所做的一切，更知道了麗娜的存在，憤怒的她想要為父親報仇，卻遭到了俊生的軟禁。]
