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備注：已完結(jié)
類(lèi)型：劇情片
主演：普利特維拉吉·蘇庫(kù)瑪蘭 瑪瑪塔·莫漢達(dá)斯 Vincy Aloshiou
導(dǎo)演：Dijo Jose Antony
語(yǔ)言：馬拉雅拉姆語(yǔ)
年代：未知
簡(jiǎn)介：[一名大學(xué)教授的殘忍謀殺案引發(fā)了學(xué)生騷亂，一位警察展開(kāi)調(diào)查的同時(shí)一名律師在法庭上尋求正義。
備注：已完結(jié)
類(lèi)型：劇情片
主演：Ada Ameh Beverly Osu Blossom Chukwu
語(yǔ)言：英語(yǔ)
年代：未知
簡(jiǎn)介：Set in Nigeria, Oloture is the story of a young, naive Nigerian journalist who goes undercover to expose the shady underworld of human trafficking. Unused to this brutal environment, crawling with ruthless traders and pimps, Oloture finds warmth and friendship with Blessing, Linda and Beauty, the prostitutes she lives with. However, she gets drawn into their lifestyle and finds it difficult to cope. In her quest to uncover the truth, she pays the ultimate price - one that takes her to the verge of no return.
備注：已完結(jié)
類(lèi)型：劇情片
主演：亞歷克斯·岡薩雷斯 米格爾·安赫爾·西爾維斯特 卡洛斯·巴登 朱迪思·
語(yǔ)言：其它
年代：未知
簡(jiǎn)介：《戀愛(ài)中的蝎子》是一則城市寓言，故事講述了小伙子胡利安和他最好的哥們路易斯積極參加了一個(gè)新納粹主義暴力團(tuán)伙，該團(tuán)伙由狂熱份子索利斯領(lǐng)導(dǎo)。胡利安開(kāi)始在一家拳館訓(xùn)練，他漸漸發(fā)現(xiàn)這種運(yùn)動(dòng)的磨煉和教練的善良開(kāi)始讓他有所改變?？僧?dāng)他愛(ài)上艾麗莎、他的救贖也近在眼前的時(shí)候，路易斯和幫派的其他成員回來(lái)了，要來(lái)阻止他把自己的納粹歷史拋在腦后……（豆瓣電影字幕翻譯2.0小組）
備注：已完結(jié)
類(lèi)型：劇情片
主演：法布萊斯·魯奇尼 羅什迪·澤姆 斯特凡·奧德朗 吉勒·科昂 Alexa
導(dǎo)演：安妮·芳婷
語(yǔ)言：法語(yǔ) / 意大利語(yǔ)
年代：未知
簡(jiǎn)介：[貝朗特（法布萊斯·魯奇尼FabriceLuchini飾）是一名出色的律師，專(zhuān)門(mén)為重刑犯進(jìn)行辯護(hù)，敗在他伶牙俐齒之下的對(duì)手比比皆是。此次，他來(lái)到摩納哥，是為了替一位涉嫌謀殺的富有貴婦工作，貴婦不僅為貝朗特安排了豪華的客房，更派了一個(gè)名為克里斯多弗（羅什迪·澤姆RoschdyZem飾）的保鏢在貝朗特的身邊，保護(hù)他的安全。一次偶然中，貝朗特結(jié)識(shí)了美艷不可方物的氣象預(yù)報(bào)員奧黛麗（露易絲·布爾昆LouiseBourgoin飾），貝朗特瞬間墜入了愛(ài)河。令貝朗特感到意外的是，奧黛麗竟然是克里斯多弗的前女友，三人復(fù)雜的關(guān)系讓貝朗特陷入了困擾之中。對(duì)于奧黛麗來(lái)說(shuō)，擠進(jìn)上流社會(huì)是她唯一的夢(mèng)想，至于踏板是誰(shuí)，她并不在意，奧黛麗的夢(mèng)想能夠成真嗎？她最終又將情歸何處呢？]
備注：已完結(jié)
類(lèi)型：劇情片
主演：Eliza Sodró 索菲婭·紹莫希 Ern? Fekete 列文特
導(dǎo)演：克里斯托弗·迪克
語(yǔ)言：匈牙利語(yǔ)
年代：未知
簡(jiǎn)介：[WhenFuchsstartshisnewjobasateacherinaprisonschool,replacingtheoldandunconventionalteacherBergeragainstherwill,heisforcedtoconfronthisbiggestfear,triggeredbythemysterious,withdrawninmateSamira.]
備注：已完結(jié)
類(lèi)型：喜劇片
主演：Luis Bayardo Rodolfo Guerrero Eduar
導(dǎo)演：Jack Zagha Kababie
語(yǔ)言：西班牙語(yǔ)
年代：未知
簡(jiǎn)介：最后一杯酒
備注：已完結(jié)
類(lèi)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.
