沉默风暴
1.0 |04月18日 |已完结
简介:
On a remote Scottish Isle in the 1950s, a 30-year-old woman(Andrea Riseborough)is caught between her overbearing, evangelist husband(Damian Lewis), a Minister, and the masculine vitality of a 16-year old criminal who is delivered to them as part of a rehabilitation scheme.
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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
春申君
489
4.0
HD中字
春申君
4.0
更新时间:04月17日
主演:王诗槐,张盼盼,舒长青
简介:导      演张祥林  编      剧谢文礼  主      演王诗槐、张盼盼、舒长青、任孝复、苏建宇  片      种故事片  类      型历史  出品单位湖北方琳影视传媒有限公司  长      度96分钟  出品年代2009  剧情简介  春申君为“战国四君子”之一。楚国江夏人,姓黄名歇,楚考烈王时期拜其为相。    黄歇才高八斗、胸怀大志,成年后游历四方,广交贤能志士。时值楚国天灾人祸,百姓生灵涂炭,楚王急需贤能之士帮其渡过难关,得知黄歇的才能之后,楚王三次登门相请,黄歇也觉该为富国安民作点贡献,于是入朝担任左徒之职。    秦国欲称霸天下,出兵攻楚,战火烧到都城附近,楚王惶惶不可终日。在国破家亡的紧要关头,黄歇主动请缨愿意前往秦国说服秦王罢战。楚王应允后,黄歇只身亲赴秦国,凭借口舌之伶俐,学识之渊博,对时势进行精辟论述,终于说服了秦王罢兵休战。但秦王要求将楚国太子送到秦国作人质,黄歇禀明大义忠君爱国,说服家里亲人男儿活在世上,必须要有所作为,本人更应该为黄氏争光。于是,他毅然决定陪太子完赴秦作人质,并且培养太子完学会治国之道。    公元前263年,楚襄王病重,想要太子回国继位,秦王不允,黄歇设计让太子化妆逃出秦国。秦王知道后,欲杀黄歇,在秦相的劝说下,秦王终于答应让黄歇归国……
968
2009
春申君
主演:王诗槐,张盼盼,舒长青
二十世纪女人
676
2.0
已完结
二十世纪女人
2.0
更新时间:04月17日
主演:安妮特·贝宁,艾丽·范宁,格蕾塔·葛韦格,比利·克鲁德普,卢卡斯·杰德·祖曼,艾丽森·艾略特,西娅·吉尔,维塔利·安德鲁·勒博,瓦利德·祖伊特,柯伦·沃尔特斯,达里尔·布里特-吉布森,阿莉雅·肖卡特,纳塞利·洛芙,卡梅伦·珀罗兹曼,维多利亚·布鲁诺,约翰·比灵斯列,劳拉·威金斯,卡伊·伦诺克斯,凯西·伯克,丹尼尔·D·乌伊,马修·福斯特
简介:多萝西亚(安妮特·贝宁 Annette Bening 饰)以一己之力独自抚养儿子杰米(卢卡斯·杰德·祖曼 Lucas Jade Zumann 饰)长大,其中的困苦和辛酸只有她自己知道。杰米深深爱恋着名为朱莉(艾丽·范宁 Elle Fanning 饰)的女孩,然而和很多人都发生过肉体关系的朱莉,却偏偏要在杰米的身上寻求精神的依恋,尽管两人常常同床共枕,却依然艰难维持着纯洁的友情,这让杰米感到十分苦恼。  渐渐进入青春期的杰米表现出了一些令多萝西亚感到担心的特质,为了帮助儿子顺利的度过这一特殊时期,多萝西亚找到了房客艾比(格蕾塔·葛韦格 Greta Gerwig 饰),希望她能够给杰米一点帮助。与此同时,多萝西亚一直没有放弃希望,她渴望着能够找到一个靠谱的男人,成为自己的丈夫,亦成为杰米的父亲。
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2016
二十世纪女人
主演:安妮特·贝宁,艾丽·范宁,格蕾塔·葛韦格,比利·克鲁德普,卢卡斯·杰德·祖曼,艾丽森·艾略特,西娅·吉尔,维塔利·安德鲁·勒博,瓦利德·祖伊特,柯伦·沃尔特斯,达里尔·布里特-吉布森,阿莉雅·肖卡特,纳塞利·洛芙,卡梅伦·珀罗兹曼,维多利亚·布鲁诺,约翰·比灵斯列,劳拉·威金斯,卡伊·伦诺克斯,凯西·伯克,丹尼尔·D·乌伊,马修·福斯特
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