方舱48小时
10.0 |04月17日 |更新至2020-04-04期
简介:
3月10日武汉市方舱医院全部休舱,医护工作者和病患们怎样度过休舱前的最后两个昼夜?告别方舱他们经历过什么?收获了什么?《平民英雄》节目组赴武汉记录了这重要的时ccc。
猜你喜欢
换一换
欧洲的某个地方
693
1.0
已完结
欧洲的某个地方
1.0
更新时间:04月18日
主演:Artúr Somlay,Miklós Gábor,Zsuzsa Bánki
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.
293
1948
欧洲的某个地方
主演:Artúr Somlay,Miklós Gábor,Zsuzsa Bánki
锁麟囊
770
4.0
已完结
锁麟囊
4.0
更新时间:04月17日
主演:Steffen Led Sørensen,张扬,田青
简介:薛湘靈無父無母,得山東登州巨富薛夫人收養為女。湘靈美貌無雙,與周廷訓早有婚約,因知府之子劉金虎苦苦相纏,薛夫人為怕夜長夢多,乃與廷訓商議早日完婚。  出嫁之日,薛夫人贈湘靈一只滿載珠寶的「鎖麟囊」,願湘靈早誕麟兒。湘靈出閣途中遇雨,至一破廟暫避,未幾又來了一乘花轎,轎中新娘趙守貞因家貧受湘靈轎伕之白眼,一時感懷身世,於廟外哭訴起來,湘靈大感同情,於是將「鎖麟囊」轉贈守貞,雨停之後,兩人各自上路,匆忙之間,兩人均不知對方姓名。  不料湘靈提早出嫁之事己為劉金虎所悉,乃與媒婆合謀插贓嫁禍,誣陷庭訓私通大盜,搶劫官銀,更將廷訓判死罪。湘靈於是急返娘家與母親商量救夫之法,以財寶賄賂劉知府。  劉知府收下賄銀,庭訓改判充軍,卻又暗中命解差於途中殺死庭訓。廷訓被解差逼至失足跌下山崖,解差又將庭訓之鞋子帶回作證,劉金虎大喜,即前往薛家告知湘靈,並乘時向湘靈提親。  湘靈得知丈夫死訊,悲痛欲絕,又疑心其中別有內情,遂假意答應劉家親事。湘靈孝滿之日,宴請劉金虎,與侍婢梅香施計騙得劉金虎說出眞相,湘靈得知丈夫乃是劉金虎所害,驚怒不已,劉金虎欲借醉強暴湘靈,湘靈誓死不從,糾纏間劉金虎失足墮樓身亡。  知府師爺聞訊後派人將湘靈拿下,劉知府得知愛子喪生,判湘靈死罪,薛夫人更因此一病不起,不久病逝。未幾周廷訓大難不死,平安歸來,梅香勸他上京趕考,以便將來為湘靈雪冤。  梅香乘探獄之時告訴湘靈庭訓未死之消息,又與湘靈交換衣服,吩咐她取得盤纏後上京尋夫。不料湘靈途中遇上強盜,盤纏盡失,淪落為丐。幾經辛苦,終於來至萊州,當地盧知府一家憐其孤苦,留她於府中照顧少爺,湘靈為怕身份敗露,乃改名「朱蘭英」。  一日,湘靈聞得山東巡撫下令緝捕自己,慌忙離開,被盧府婢女看見,以為她挾帶私逃,湘靈匆忙間乃到盧夫人平日拜佛之「龍珠樓」暫避,樓中香案內,湘靈看到盧夫人所供之物,竟是當年的添妝之物——「鎖麟囊」,往事湧上心頭,念及慈母,泣不成聲。盧夫人見湘靈撫囊痛哭,問其故,湘靈於是將當日贈囊之事和盤托出。  原來盧夫人正是當年的窮新娘趙守貞,守貞得囊中珠寶之助,資助丈夫上京赴考,方有今日,無奈不知恩人姓名,唯有將囊兒供於樓內,遙祝恩人福壽康寧。盧知府得知湘靈際遇後,為報恩情,乃與湘靈冒險到巡撫衙前告狀。不料巡撫正是周庭訓,最後廷訓終於將劉知府等有罪之人繩之於法,為愛妻雪冤,夫婦團圓,從此薛盧二家亦結為莫逆之交。
2428
1966
锁麟囊
主演:Steffen Led Sørensen,张扬,田青
湄公河行动
506
8.0
已完结
湄公河行动
8.0
更新时间:04月17日
主演:张涵予,彭于晏,孙淳,陈宝国,冯文娟,刘显达,赵健,吴旭东,吴嘉龙,卢惠光,柏华力·莫高彼斯彻,维他亚·潘斯林加姆,战立国,石占杰,伍麟凯,魏蔓,李佳璇,郝文婷,王笑龙,任蕊
简介:金三角湄公河上,一处被称为“鬼门关”的河段,两艘来自中国的商船遭到不明身份之人的枪击袭击。未过多久,泰国军方召开新闻发布会,指责中国商船贩卖毒品。虽然发布会宣称船员全部逃亡,但是十三具遭受残忍杀害的中国船员尸体很快被人发现。这起胆大妄为的案件令中国警方大为震惊,云南省缉毒总队队长高刚(张涵予 饰)受命带特别行动小组前往泰国,并与情报员方新武(彭于晏 饰)合作接洽。根据现有资料显示,这件案子由盘踞在金三角的大毒枭糯卡所为。糯卡贪婪残忍,胆大包天,是湄公河流域上一颗惊扰运输安全的毒瘤。为了将这个恶棍绳之于法,中国、老挝、缅甸开展了三国联合巡逻,集中对糯卡的制毒窝点进行扫荡。而高刚等人也深入最危险境地,与丧失人性的贩毒分子进行惨烈对决……  本片根据真实事件改编。
7624
2016
湄公河行动
主演:张涵予,彭于晏,孙淳,陈宝国,冯文娟,刘显达,赵健,吴旭东,吴嘉龙,卢惠光,柏华力·莫高彼斯彻,维他亚·潘斯林加姆,战立国,石占杰,伍麟凯,魏蔓,李佳璇,郝文婷,王笑龙,任蕊
评论区
首页
电影
电视
综艺
动画