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備注：已完結(jié)
類型：科幻片
主演：費倫茨·埃萊克 András·Réthelyi Zsolt·Dér G
導(dǎo)演：伊斯蒂·馬達(dá)拉斯
語言：匈牙利語
年代：未知
簡介：毒販和他的女同伙在他們的最后一次任務(wù)上反水了他們的老板，最后被困在時間循環(huán)中。
備注：已完結(jié)
類型：恐怖片
主演：肖恩·賓 金·寇茲 艾麗絲·克里奇 拉達(dá)·米切爾 妮基·瓜達(dá)尼 勞瑞·
導(dǎo)演：克里斯多夫·甘斯
語言：英語
年代：未知
簡介：為了女兒，Rose（拉達(dá)?米契爾 飾）與女兒一起來到了一個奇怪的地方。女兒常常夢游，Rose尋遍醫(yī)生都無法把女兒的病治好，雖然灰心過但Rose還是不愿放棄醫(yī)治女兒。女兒是她的命根，女兒夢游時總是說著...
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：Eszter ónodi 蒂伯·加斯帕爾 Petra Hovanyec
導(dǎo)演：伊波拉·亞菲克特
語言：其它
年代：未知
簡介： 電影回顧了匈牙利風(fēng)雨飄搖的20世紀(jì)。一位92歲的匈牙利女性在與五十多歲女兒的對話中，回顧了她驚心動魄的一生。她成長于匈牙利動蕩的年代，與一位帥氣的軍人一見鐘情，為了避免戰(zhàn)爭的沖突，她一生搬家了27次。電影以幽默和溫情的方式來呈現(xiàn)了這段不凡的個人經(jīng)歷。它不僅是一位女性的個人史，亦是匈牙利的國家歷史。
備注：已完結(jié)
類型：喜劇片
主演：嘉博·雷茲 卡提卡·納吉 Zsolt Kovács Katalin T
導(dǎo)演：嘉博·雷茲
語言：其它
年代：未知
簡介： 在巴黎慘遭女友拋棄的中年失意大叔托馬斯回到匈牙利修養(yǎng)，卻翻出自己年輕時寫下的一首首稚嫩的爛情詩。記憶一下子被推回到往日時光。曾經(jīng)的浪漫花海為何變成一片貧瘠；往日的“我愛你”為何落得分手再見；曾經(jīng)的快樂少年為何成為發(fā)福大叔。托馬斯試圖從記憶中尋找出緣由，卻發(fā)現(xiàn)在成長中所有的喜怒哀樂，所有的愛與恨，都不過是人生的珍貴體悟。或許愛會消逝，但青春不過就是一首絢麗的爛情詩。
