備注：已完結
類型：劇情片
主演：Sidhant Gupta Vedika Pinto Sharad K
語言：印地語
年代：未知
簡介：[一對年青情侶遇上倆位神秘陌生人，浪漫的約會之夜氛圍霎時急轉直下，成了恐怖與猜忌的夜晚。翻拍自2019年馬拉雅拉姆語電影《Ishq》.]
備注：已完結
類型：劇情片
主演：Brigitte Poupart étienne Galloy Yam
導演：米莉婭姆·瓦爾霍特
語言：法語 / 英語
年代：未知
簡介：[TwogirlsgrowupasbestfriendsinanInnucommunity.WhileMikuanhasalovingfamily,Shanissispickingupthepiecesofhershatteredchildhood.Aschildren,theypromisedeachothertosticktogethernomatterwhat.Butasthey'reabouttoturn17,theirfriendshipisshakenwhenMikuanfallsforawhiteboy,andstartsdreamingofleavingthereservethat'snowtoosmal...]
備注：已完結
類型：劇情片
主演：羅伯特·德尼羅 查茲·帕爾明特瑞 李洛·布蘭卡托 弗朗西斯·卡普拉 泰
導演：羅伯特·德尼羅
語言：英語
年代：未知
簡介：1960年代，紐約意大利人集結的布朗克斯區(qū)。黑幫老大辛尼（查茲·帕爾明特瑞 Chazz Palminteri飾）是當地赫赫有名的幫會人物。在一宗兇殺案現場，九歲的男孩安奴（弗朗西斯·卡普拉 Francis Capra飾）目睹了這一切。為了街區(qū)的名譽，安奴拒絕供出兇手就是辛尼，此事促使他倆展開一段儼如父子般的忘年友情。然而安奴的父親羅蘭遜（羅伯特·德尼羅 Robert De Niro飾）對此卻并不贊成，唯恐兒子誤入歧途。八年后，十七歲的安奴（李洛·布蘭卡托 Lillo Brancato飾）已經成長為一名英俊少年。辛尼的勢力正在逐漸擴大，安奴對辛尼愈發(fā)崇拜，對黑幫生活也更加向往。誠實正直的羅蘭遜對兒子的憂慮越來越重?！ ∮蓨W斯卡影帝羅伯特·德尼羅執(zhí)導的電影處女作《布朗克斯的故事》，入圍1993年第50屆威尼斯國際電影節(jié)金獅獎。
備注：已完結
類型：劇情片
主演：諾蘭·諾斯 詹姆斯·阿諾德·泰勒 米歇爾·維特菲爾德 Mikey Ke
導演：凱文·門羅
語言：英語
年代：未知
簡介：將施奈德回老家之后，四只原本親如兄弟的神龜由于沒有了敵人，于是不再想以往一樣一起戰(zhàn)斗，而是各自在喜歡的領域內鉆研，以往一起行動的忍者神龜們變成了四個獨來獨往的“獨行俠”！ 這時，紐約市中發(fā)生一連竄的怪事。原來實業(yè)家馬克西米林安?J?威特斯意圖征服紐約市，秘密培養(yǎng)了一支遠古怪獸組成的軍隊，加上惡名昭彰的忍者組織Foot Clan，各種黑暗勢力又在城市的角落里蠢蠢欲動！ 神龜們又處于備戰(zhàn)狀態(tài)了！他們再次聯合起來，準備向黑暗勢力出擊！
備注：已完結
類型：劇情片
主演：Salman Khan Preity Zinta Bhoomika C
語言：北印度語
年代：未知
簡介：[芭麗和夏布是一對非常恩愛的夫妻，夏布從事著廣告創(chuàng)意的行業(yè)，芭麗的存在常常給他帶來各種各樣的靈感。一場車禍中，芭麗不幸喪生，臨終前，她希望能夠將自己的心臟捐贈出去，去挽救另外一條無辜的性命。接受芭麗心臟的，是一個名叫達妮的女孩，手術結束之后，達妮在敏敏之中繼承了芭麗的性格和好惡，并且在不知不覺之中深深的愛上了夏布。芭麗來到了夏布所在的公司成為了一名策劃人，因為無法忘記已故的亡妻，所以夏布對熱情似火的達妮處處回避。但不可否認的是，達妮確實也給夏布帶來了很多新的靈感。最終，夏布還是得知了有關妻子心臟的真相。]
備注：已完結
類型：劇情片
主演：Mike Bell Victor Cowie Jim Crawford
導演：蓋伊·馬丁
語言：英語
年代：未知
簡介：[根據導演自述本片是最“自傳的”的作品。影片背景是20世紀30年代，人物包括溫尼伯曲棍球隊中一群好色淫蕩的隊員，另外還有一間“美容/墮胎沙龍”里的雇員。曲棍球員蓋爾神魂顛倒地迷上了擁有美貌的梅塔和她的母親。梅塔一開始壓抑著蓋爾的情欲，直到一位醫(yī)生將梅塔死去父親的雙手移植到蓋爾手臂上，他的激情才得以...]
備注：已完結
類型：劇情片
主演：Eliza Sodró 索菲婭·紹莫希 Ern? Fekete 列文特
導演：克里斯托弗·迪克
語言：匈牙利語
年代：未知
簡介：[WhenFuchsstartshisnewjobasateacherinaprisonschool,replacingtheoldandunconventionalteacherBergeragainstherwill,heisforcedtoconfronthisbiggestfear,triggeredbythemysterious,withdrawninmateSamira.]
備注：已完結
類型：劇情片
主演：格萊戈爾·科林 Dzemail Maksut 拉賓娜·米特威斯卡 米莉
導演：米爾科·曼徹夫斯基
語言：馬其頓語
年代：未知
簡介：在馬其頓，戰(zhàn)爭中的波斯尼亞，東正教的一位年輕修士以沉默保護一位年輕女孩，這位阿爾巴尼亞女孩涉嫌殺害一位東正教徒。但其實只是誤會。修士以自己的善良決定與女孩私奔。 在倫敦，一位攝影記者（凱特琳·卡特利吉 Katrin Cartlidge 飾）在餐館與她的丈夫談論感情變淡的問題，二人爭吵激烈之時，一名種族主義者沖入餐館開槍掃射。愛，在生死之間突然變得清晰。 一位離開好友的攝影記者（拉德·舍博德茲加 Rade Serbedzija 飾）從倫敦出發(fā)，回到16年沒來的老家馬其頓。這里有他的老朋友，他的東正教朋友們，還有與阿爾巴尼亞人的種族矛盾。攝影記者嘗試通過和解的方式化解紛爭，但是，這一切遠沒有他想象的那么簡單。 “圓圈不是一個圓?！比蜗嗷ソ诲e的故事，不同文化、宗教、民族的誤會造成的悲劇。
備注：已完結
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.
