回到十六岁

简介：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.

简介：故事讲述Sakkarin是一个25岁的无用家伙，由于他的母亲希望他成为一名银行家而无法找到工作。 为了照顾好自己，让家人幸福，他每天早上都要穿着银行制服躺在家里，然后转向他的真实自我和真正的摩托车出租车工作。 但是，当他遇到他的高中迷恋“Jai”，现实生活中的银行家，“A”Jai的男朋友和银行董事，以及“Preecha叔叔”，他父亲的前警察朋友时，这个世界上并不存在秘密。 谁总是关注他。

简介：影片《不做路人甲》的故事讲述了少林俗家弟子任秋雨（释延俊饰）想凭借绝技童子功在娱乐圈打出一片天地，成为功夫巨星，无奈半路遇到龙套大学生东方茗（王严茗饰）和农民工白日梦（彭少勇饰），三人使出十八般武艺成为跟组演员。不料任秋雨一开始便与武术指导龙师父结下梁子，东方茗因打戏瞬间爱上了武替安宁（梦凡雪饰），而白日梦刚进剧组就被农村对象缠着回家结婚，于是三个怀着“梦想”的群众演员颇具“情怀”的故事终于上演了……

简介：刻板的国会女议员非比·弗斯特（琪恩·阿瑟 饰演）发现一位美国军官和一个柏林美女关系甚密（玛琳·黛德丽 饰演），局势便骤然紧张起来。

简介：华夏时期盗匪大量涌入，探险队与考古学家找到《驭蛟录》并收藏起来以免其流失海外。几年后，父亲受到蛇毒重伤的高盈盈（毛娜饰 演）在玄二（王玺饰 演）和玄三（段霄震饰 演）的陪同下，找到了互生情愫多年、会分金定穴之术的富家少爷许飞（安一鑫 饰演），希望他能帮助自己寻找治愈父亲蛇毒的解药。四人途中意外遇到了黄海山（韩东 饰演），五人共同来到了拜柳村，开启了一段惊险刺激的探险之旅……

简介：亚马逊影业击败威秀、派拉蒙、华纳等强劲竞争对手，拿下Casey McQuiston撰写的，将于5月14日上市的小说《红，白，皇家蓝》(Red White Royal Blue，暂译)的电影改编权。Berlanti影业负责制作，Ted Malawer负责改编剧本。而究竟是怎样的故事引来如此多的好莱坞片方竞相争夺呢？小说是一出浪漫喜剧，描绘了美国女总统艾伦的儿子埃里克斯因为一次国际性质事件，不得不假装和来自英国威尔士的亨利王子成为好友，却因此爱上了后者。埃里克斯大概是大西洋这一侧最接近王子属性的人，他和他勇敢的妹妹、副总统的天才孙女组成了白宫三剑客。然而这样的组合，其实只是他身为美国总统的母亲艾伦的营销策略。然而当一张埃里克斯的长期克星亨利王子的王室婚礼照片被泄露给小报后，美英关系受到严重威胁。如何止损呢？那就是让埃里克斯与亨利建立虚假友谊。紧绷的王室关系，并没有让埃里克斯放慢处理他母亲如饥似渴的对手和他自己政治野心的脚步。但在亨利的白马王子外表下，虽然拥有一个善良的内心，却缺乏幽默感，并且不止一个“鬼魂”困扰着他。随着艾伦总统开始连任竞选，埃里克斯发现自己正在与亨利建立秘密关系，而这可能会破坏竞选活动，并使两个国家断交。

简介：东北松花江畔的一个小村庄里，人们都盼望着来年丰收的年景。一个青年和一个大汉赶着粮食车到集市上出售，傍晚时分，两人赶着车在一个车店门前停下，青年早已和车店店家的孙女相爱，店家家中还有女孩的祖父和父母。第二天早晨，青年又得赶车出发，他和店家的孙女相约下次再见面。不久后，“九·一八”爆发，日本入侵东北，孙女的父母亲均被日本人杀害。青年被抓走，半途义勇军偷袭日寇，青年趁乱逃回车店，碰见日寇正欲污辱车店孙女，青年打死日寇带孙女逃离此地，“七七事变”后，青年孙女等人不屈日寇的压迫，参加了义勇军，抗击日寇。

简介：尼古拉斯·凯奇（Nicolas Cage）有新片了，这次他要在电影里演自己。　　该片主角就是尼古拉斯·凯奇本人，他疯狂的渴望在昆汀·塔伦蒂诺的下部电影里得到一个角色，他经常会和自己脑海中一个90年代的自己对话，后者不断吐槽他“老是接烂片”、“再也不是当年那个电影明星”了。　　讲述破产边缘的凯奇为了100万美元的酬劳去参加一个亿万富翁粉丝（佩德罗·帕斯卡 饰）的生日派对，但这位富豪是一个危险的毒枭。当凯奇被一名CIA特工招募后，事情发生了意想不到的转变，为了拯救自己和亲人，他被迫出演一个终生难忘的角色——尼古拉斯·凯奇，用他最具标志性和最受喜爱的银幕角色来履行自己的传奇人生。　　《才华不能承受之重》会有多个桥段向凯奇的代表作致敬，包括《离开拉斯维加斯》（Leaving Las Vegas）、《变脸》（Face-Off）、《极速60秒》（Gone in 60 Seconds）等。影片风格酷似凯奇主演过的2002年电影《改编剧本》（Adaptation），后者是导演斯派克·琼斯与编剧查理·考夫曼联手的杰作。

简介：该片改编自二战英国历史学家达米安·刘易斯的同名畅销书《非绅士战争部：丘吉尔的秘密战士如何点燃欧洲并催生现代黑色行动》。影片讲述了丘吉尔领导的秘密作战分队的真实而离奇故事。这支小分队采用非传统、完全非绅士的作战技巧与纳粹进行斗争，从而改变了战争的进程。故事发生于1940年二战期间，德国持续对英国进行轰炸，并利用U型潜艇破坏英国的补给线。一些英国政府人员主张投降，但丘吉尔决心不认输，而是改变战争规则，进行强力反击。根据情报，德国大西洋U型潜艇舰队的保养、维修和武装工作都在尼日利亚的一个小港口进行。丘吉尔看到了摧毁德国战争资产、夺回优势的机会。然而，他意识到直接攻击这个西班牙殖民地可能导致西班牙与德国结盟，因此便组建了一个秘密的作战分队，由古斯·马奇·菲利普斯上尉（亨利·卡维尔 饰）带领，发动秘密行动破坏舰队。当最初计划的炸毁舰队行动因船只坚固、港口浅...

简介：道格（大卫·田纳特 David Tennant 饰）和妻子阿比（裴淳华 Rosamund Pike 饰）带着三个孩子，一家五口自驾去遥远的苏格兰高地为道格的父亲戈蒂（比利·康诺利 Billy Connolly 饰）庆祝生日。他们的大女儿是一个总把重要事情记录在日记本上的严谨女孩，弟弟是一个酷爱读书的男孩，小女儿则是一个走到哪里都要带着她的两块大石头，随时跟它们说话的萌妹子。老爷子与道格的哥嫂同住，而哥嫂家暗藏的矛盾也不可小觑。父亲知道自己的病情将不久于人世，他早已厌倦了家人们的争吵，也不想参加特意为他准备的生日聚会。大人们都在紧张的筹备着父亲的生日。没想到的是，生日当天，父亲不顾家人反对，执意带着三个孩子去海边玩耍。而接下来发生的事情，不仅让沉浸在生日会欢乐气氛中的大人们难以置信，更会让你从搞笑喜剧的情节中瞬间出戏，转而面对残酷的死亡话题。

简介：年青帅气的公司CEO、貌美的女经理、“五星级饭店”主厨以及一班昔日大学同窗在一次聚会上酒醉驾船出海，谁料到一阵突如其来的风暴将这艘豪华游艇击沉。清醒后的他们背流落到一个无名岛屿，迷失荒岛中的他们面临危机四伏的险境，食物短缺加上寄居的山洞崩塌，然而比环境更险恶的是捉摸不透的人心，为了生存，曾经的同学会变成猎人还是猎物，一场大逃杀即将开始.....

简介：《我妈妈是派对女孩》坎城影展金摄影机奖新锐导演又一揪心亲情力作现今法国东部福尔巴克，一家之主马利欧是个暖男熊爸，他人生中唯一的野心就是成就爱人与被爱，但与妻子离异后，他只能打掉重练，并且必须独自扶养两名已各有主见的青少女女儿，而他自己也像青少年一样面临尴尬处境。