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備注：已完結(jié)
類型：劇情片
主演：達(dá)維德·杜什 Marjorie Cottreel Kader Chaa
導(dǎo)演：布魯諾·杜蒙
語(yǔ)言：法語(yǔ) / 阿拉伯語(yǔ)
年代：未知
簡(jiǎn)介：[居住在法國(guó)北部城鎮(zhèn)的弗萊迪（DavidDouche飾）是一個(gè)無(wú)所事事的青年，他的母親靠經(jīng)營(yíng)小餐館為生，母親的溺愛讓弗萊迪根本不去考慮未來(lái)。他或者和三五好友騎著摩托車招搖過(guò)市，或者和女友瑪莉（MarjorieCottreel飾）縱情享受與水之歡。在這個(gè)平靜得近乎無(wú)聊的小鎮(zhèn)，甚至死亡也無(wú)法激起太多漣漪。然而，一些阿拉伯移民卻改變了弗萊迪的生活軌跡。張揚(yáng)倔強(qiáng)的阿拉伯青年卡德（KaderChaatouf飾）主動(dòng)向瑪莉搭訕，這引起弗萊迪一伙強(qiáng)烈的不滿……本片榮獲1997年英國(guó)電影學(xué)院薩瑟蘭郡獎(jiǎng)、1997年戛納電影節(jié)金相機(jī)獎(jiǎng)特別提及、1997年芝加哥國(guó)際電影節(jié)國(guó)際影評(píng)人費(fèi)比西獎(jiǎng)、1997年歐洲電影節(jié)歐洲年度發(fā)現(xiàn)、1997年讓維果最佳影片獎(jiǎng)、1997年圣保羅國(guó)際電影節(jié)評(píng)委會(huì)獎(jiǎng)。]
備注：已完結(jié)
類型：劇情片
主演：貝爾納·維爾萊 祖祖 弗朗索瓦絲·韋爾萊 丹尼爾·塞卡爾迪 瑪爾維娜·
導(dǎo)演：埃里克·侯麥
語(yǔ)言：法語(yǔ)
年代：未知
簡(jiǎn)介：本片是埃里克·侯麥《六個(gè)道德故事》的最后一部。弗雷德里克（貝爾納·維爾萊 Bernard Verley飾）在經(jīng)過(guò)了前五集的猶豫之后，終于跨進(jìn)了婚姻的城門。此時(shí)的弗雷德里克已與妻子海倫娜（弗朗索瓦絲·韋爾萊 Fran?oise Verley飾）過(guò)著幸福的小資生活。弗雷德里克在法國(guó)巴黎一家小公司上班，海倫娜則是一名工作穩(wěn)定的教師。海倫娜一直期待著他們第二個(gè)孩子的出生，而弗雷德里克卻不安于現(xiàn)狀。每到下午時(shí)分，就是他幻想和其他女性纏綿的時(shí)刻，即使他并沒有付諸于行動(dòng)。一日，他的舊情人克洛伊（祖祖 Zouzou飾）出現(xiàn)了。兩人以老朋友身份見面聊天，然而面對(duì)克洛伊的誘惑，弗雷德里克動(dòng)心了?！ ∮蓢?guó)際電影大師埃里克·侯麥執(zhí)導(dǎo)的影片《午后之愛》，是侯麥《六個(gè)道德故事》的最后一部?！读鶄€(gè)道德故事》是侯麥的成名作，包括《蒙索街的面包店女孩》、《蘇姍的愛情經(jīng)歷》、《莫德家的一夜》、《收集男人的女人》、《克萊爾的膝蓋》和《午后的愛情》，此系列作品奠定了他在世界影壇的地位。
備注：已完結(jié)
類型：劇情片
主演：希亞·拉博夫 莎拉·羅默爾 凱瑞-安·莫斯 大衛(wèi)·摩斯 艾倫·余 何塞
導(dǎo)演：D·J·卡盧索
語(yǔ)言：英語(yǔ) / 西班牙語(yǔ)
年代：未知
簡(jiǎn)介：[本片翻拍自希區(qū)柯克的名作《后窗》。凱爾(希安?拉博夫ShiaLaBeouf飾)本來(lái)有著一個(gè)幸福的家庭，然而一年前當(dāng)他的父親死于車禍后，他的生活開始改變。凱爾一直認(rèn)為父親的死與自己有關(guān)，一直非常自責(zé)。一天，老師批評(píng)凱爾時(shí)無(wú)意提到了他父親，他爆發(fā)了，將老師扔了出去，因此被法院判罰監(jiān)禁在家三個(gè)月。母親試圖用工作沖刷掉悲傷，因此整天只有凱爾一個(gè)在家。百無(wú)聊賴的凱爾開始用他的望遠(yuǎn)鏡偷窺鄰居們的生活：風(fēng)騷的女仆勾引男主人；三個(gè)小孩整天在家看A片；整天剪草的神經(jīng)漢捏死在自己花園里打洞的兔子；長(zhǎng)得鼻直口闊的美女天天游泳練瑜加等等。凱爾漸漸發(fā)現(xiàn)在這些鄰居中了可能一個(gè)隱藏的連環(huán)殺手，危險(xiǎn)也隨之而來(lái)。]
備注：已完結(jié)
類型：劇情片
主演：Kristen Barrett 約翰·瑞斯-戴維斯 Suzy Brac
導(dǎo)演：Peter C. Spencer
語(yǔ)言：英語(yǔ)
年代：未知
簡(jiǎn)介：[1940年5月，德國(guó)入侵荷蘭，荷蘭青年奮起反抗，以皮特?哈提克為首組成了秘密的抵抗軍。德軍不僅壓迫荷蘭人民，更殘忍地對(duì)猶太人實(shí)施種族滅絕政策。德軍首領(lǐng)拉曼是個(gè)冷血的人，他酷愛收藏，這次他又有了一個(gè)大的計(jì)劃，“收藏”孤兒院的猶太兒童。得知消息的抵抗軍迅速行動(dòng)，偽裝成德軍用卡車救出了這些孩子。皮特為了尋找一個(gè)失蹤的孩子露達(dá)被捕，最后犧牲。二戰(zhàn)期間荷蘭人民建立的安全屋拯救了大批的猶太人。無(wú)數(shù)年輕生命的犧牲換來(lái)了荷蘭的解放。]
備注：已完結(jié)
類型：劇情片
主演：伊恩·哈特 羅塞娜·派斯特 伊西亞爾·博利亞因 湯姆·吉爾羅伊 Mar
導(dǎo)演：肯·洛奇
語(yǔ)言：英語(yǔ) / 西班牙語(yǔ)
年代：未知
簡(jiǎn)介：[1939年，失業(yè)的英國(guó)青年大衛(wèi)，如同許多來(lái)自世界各地的社會(huì)主義青年，一起加入一國(guó)際組織游擊隊(duì)，為爭(zhēng)取民主自由而投入西班牙內(nèi)戰(zhàn)，對(duì)抗佛朗哥的獨(dú)裁暴政。大衛(wèi)因負(fù)傷來(lái)到巴塞隆納，戰(zhàn)時(shí)血泊中悲慘呼喊的聲音，成了他揮之不去的惡夢(mèng)囈語(yǔ)。他發(fā)現(xiàn)自己搖擺于對(duì)社會(huì)主義的忠誠(chéng)與新認(rèn)識(shí)的愛人之間，心中的改革夢(mèng)想?yún)s不因遠(yuǎn)離戰(zhàn)場(chǎng)而稍減，最后選擇回到前線戰(zhàn)友身旁……本片曾獲96年坎城影展金棕櫚獎(jiǎng)提名、法國(guó)凱薩獎(jiǎng)最佳外語(yǔ)片、歐洲影展最佳影片。]
備注：已完結(jié)
類型：劇情片
主演：Miranda Colclasure Suzanne Ramsey D
導(dǎo)演：馬修·阿馬立克
語(yǔ)言：法語(yǔ)
年代：未知
簡(jiǎn)介：Joachim 是一個(gè)生活在巴黎、事業(yè)成功的電視編劇。四十歲生日的臨晨，他決定放棄一切——孩子、友人、敵人、愛情與遺憾——去美國(guó)從零開始。之后，他帶領(lǐng)“新滑稽艷舞團(tuán)”（New Burlesque ）回到故鄉(xiāng)進(jìn)行巡演。艷舞團(tuán)團(tuán)員因Joachim 而對(duì)法國(guó)巴黎充滿向往。幽默的表演和脫衣舞娘豐滿的身材令男女老少沉迷不已。盡管下榻的旅館平庸不堪，使用的電梯音樂（musique d’ascenseur ）乏善可陳，又缺乏資金，女演員依然營(yíng)造出了新奇、熱情而歡樂的氣氛。但是，他們決定在巴黎演出壓軸戲，將巡演推向高潮的夢(mèng)想破裂了：Joachim 的老“朋友”背叛了他，取消了其預(yù)定的演戲場(chǎng)所。巴黎之行似乎注定來(lái)去匆匆，過(guò)去種種傷感的回憶突然被揭開…… Joachim, a former Parisian television producer had left everything behind - his children, friends, enemies, lovers and regrets to start a new life in America. But he returns with a team of New Burlesque strip-tease performers whom he has filled with romantic dreams of a tour of France, of Paris! Traveling from town to town, despite the cheap hotel rooms and lack of money, the curvaceous showgirls invent an extravagant fantasy world of warmth and hedonism that wins an enthusiastic response from men and women alike. But their dream of a tour culminating in a last grand show in Paris goes up in smoke when Joachim is betrayed by an old friend and loses the theatre where they were due to perform. An obligatory return journey to the capital violently reopens the old wounds of his past...
備注：已完結(jié)
類型：劇情片
主演：Sara Suzanne Brown Michael Artura L
語(yǔ)言：英語(yǔ)
年代：未知
簡(jiǎn)介：Phil enjoys watching his wife Diane using her killer looks to seduce men they don't know. Diane is also thrilled by her actions, knowing that she's fulfilling her husband's voyeuristic pleasures. When she meets Mickey, she discovers that he is a man who follows no rules but his own. The games of seduction become more and more perverse, and dangerous.
備注：已完結(jié)
類型：喜劇片
主演：香農(nóng)·特威德 查理歐康納 Sophie Simmons Gary Ra
語(yǔ)言：英語(yǔ)
年代：未知
簡(jiǎn)介：Charles是一個(gè)成功的CEO，有一個(gè)漂亮的妻子和14歲的女兒。同時(shí)他和自己年輕貌美的女秘書還有婚外情。他的妻子Emily早就知情，卻不愿意因此與Charles產(chǎn)生沖突。當(dāng)Charles想與女秘書結(jié)束關(guān)系的時(shí)候，卻遭到女秘書的起訴。當(dāng)他的生活天翻地覆時(shí)，他才發(fā)現(xiàn)并不如 自己所想的自己才是掌控者…
備注：已完結(jié)
類型：劇情片
主演：丹妮絲·理查茲 約翰·施奈德 Madeleine Byrne 凡妮莎·
導(dǎo)演：約翰·K·D·格雷厄姆
語(yǔ)言：英語(yǔ)
年代：未知
簡(jiǎn)介：[Tiredofbeingbullied,CassandraEvanspraysthathernemesis,KatieSharp,thequeenbeeofsocialmedia,wouldknowwhatit'sliketowalkadayinhershoes.HerprayerisansweredinanunexpectedwaywhentheygetSwitched.]
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.
