巴贝特之宴
主演:斯特凡·奥德朗,博迪尔·谢尔,比吉特·菲德斯皮尔,亚尔·库勒,让-菲利普·拉丰,毕比·安德松,格茜塔·诺比,阿丝塔·埃斯佩尔·哈根·安德森,托马斯·安东尼,格特·巴斯蒂安,维戈·本特松,薇比珂·哈斯特伦,ThereseHøjgaardChristensen,波尔·克恩,凯·克里斯蒂安森
高清版
剧情:19世纪70年代,与世隔绝的丹麦北部的小村庄。一对督信路德教的姐妹花玛蒂娜(比尔吉特·费德施皮尔B..
巴贝特之宴
主演:斯特凡·奥德朗,博迪尔·谢尔,比吉特·菲德斯皮尔,亚尔·库勒,让-菲利普·拉丰,毕比·安德松,格茜塔·诺比,阿丝塔·埃斯佩尔·哈根·安德森,托马斯·安东尼,格特·巴斯蒂安,维戈·本特松,薇比珂·哈斯特伦,ThereseHøjgaardChristensen,波尔·克恩,凯·克里斯蒂安森
高清版
剧情: 10岁的格洛丽亚和丧偶的祖父巴德住在一起。圣诞节时,他们遇见了一只神秘的驯鹿。爷爷巴德觉得驯鹿P..
幻海童真·圣诞故事
主演:詹姆斯·克伦威尔,莎拉-简·波茨,阿隆·麦克卡斯克,约瑟夫·米尔森
高清版
剧情:影片讲述了新奥尔良众议员科林·普莱斯的职业生涯因性丑闻被中断后,直面混乱人生的故事。
奔跑者
主演:尼古拉斯·凯奇,康妮·尼尔森,莎拉·保罗森,彼得·方达,维德尔·皮尔斯
高清版
剧情:在她姐姐的野蛮袭击后,西米和她的朋友维里蒂去寻找实施袭击的人,以一种非常独特的方式进行报复。
别为她哭泣
主演:Jerry Anderson,Fran Walker,Anja Cilia,Mike Kelson
高清版
剧情:两个小马仔管理贿金数额偏差那里跟主线剧情不搭,多线程玩脱了 整部电影有浓浓的90年代香港犯罪电影的..
十字路口
主演:苏茜·肯道尔,丹尼斯·瓦特曼,阿德里安娜·波斯塔,MaureenLipman,MichaelGothard
1080P蓝光
剧情:李燕南(陈厚饰)是歌舞团的钢琴师,而陈小芸(郑佩佩饰)则是歌手,两人相识多年,李燕南常常指点陈小芸..
艳阳天
主演:凯瑟琳·赫本,罗萨诺·布拉兹,伊莎·米兰达,达伦·麦克加文,玛瑞·奥登
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.