蒙娜丽莎的微笑

简介：意大利西部片宗师瑟吉欧·莱昂的传世经典之作，继与克林伊斯威特合作「镖客三系列」之后，瑟吉欧·莱昂这部近三个小时的长篇钜作，被称之为影史上最伟大的西部片。　　故事叙述一名神秘客（查理士布朗逊）来到小镇上，被卷入一名寡妇（克劳蒂雅卡迪奈尔）与铁路大亨的土地抢夺战，此片最有趣的角色，是由一向形象正义的亨利方达，难得在此片中扮演一名冷面的残酷杀手，从头到尾几乎没有表情，只有嘴角偶尔小有动作，让人不寒而栗... 当年影片在美国上映时，曾因为片长过长而被片商修剪，导致故事架构含混不清，语焉不详。

简介：一名雇佣军受雇夺取一把能将人变成凶残杀手的武器，而在兄弟成为这一装置的受害者后，他决定展开复仇。

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：一个不听任何修改意见的编剧（宋木子 饰），一个什么修改意见都听的编剧（合文俊 饰），一个自大，一个胆大，组成银河系最强（ruo）乙方，向顶级甲方公司发起才华挑战。　　影片荣获第17届FIRST青年电影展评委会大奖、最佳编剧两项大奖。

简介：简介：　　民国时期,有日本武士向中国武术界挑衅,打败了不少武术人士,气焰日益嚣涨,同时欺压贫民,经营不法行当,时有霍家拳掌门率子弟抗争;更有第三子元甲因身体虚弱,被父勒令弃武学文,在老夫子的帮助启发下,竟无师自通,自创迷踪拳法.最后父子二人联手击毙了众多日本武士......　　導演：羅馬 羅嘉甫　　動作設計：權永文 王將 黃樹棠　　副導演：王英杰　　出品人：羅嘉甫　　監製：羅馬 李旭馨 羅嘉甫　　出品：嘉氏影業(香港)公司　　演員：　　黃正利　　權永文　　王將　　陳樓　　蔣金　　李春華　　元武　　王沙　　金軍　　王憾塵　　元菊　　陳嶺威　　和尚　　歐陽耀蔭　　梁兆華

简介：Two young women, torn apart by a childhood tragedy, unexpectedly reunite and embark on an illuminating 24-hour journey, where they unlock memories of long-forgotten innocence and what it means to truly believe.

简介：Jailed under a tough cop, an uneducated politician decides to spend his time studying for high school, while his scheming wife has plans of her own.

简介：《诗词来了》是《中国诗词大会》（第三季）节目组特别制作的十集伴随式纪录片。选取选手团中的若干位特色选手，记录他们参加节目录制的全过程，并跟随他们回到家乡，记录他们的诗意生活。《诗词来了》将伴随《中国诗词大会》第三季同步播出。

简介：生日没有任何人祝福，这样过着寂寞生活的大学生次郎（小出惠介饰）在20岁生日那天突然遇到了生命中的那个“她”（绫瀨遥饰）。二人共渡了一个美好的夜晚。是夜，“她”从次郎的眼前消失了。一年后的生日，本以为还将回归寂寞生活的次郎再次遇到了“她”。这一次，“她”讲出了惊天的故事：“我是未来次郎你创造的机器人，回到过去来保护你免受灾难。”就这样，“她”住进了次郎家中，开始了与次郎的同居生活。灾难似乎没有离开次郎的意思，但次郎与她的感情已在其中萌发。爱与时间的感人故事，守护未来的约定，开始今天的生活。

简介：抗疫斗争惊险万分，2020年海京因疫情封城，深呼吸康复机构老板程阳肾移植术后持续低烧，但仍为了查清捐赠口罩过期一事奔忙，潜入了药店老板范总的家中。范总家保姆马飞燕身为密接人员却从医院逃离，主治医师陈扬为找回她也来到范总家中，却扑了空。因发烧被误认为新冠患者的程阳经历了种种惊险的时刻，误打误撞中揭开了范总售卖过期口罩背后的罪行，并与前女友陈扬重逢。最终这场因疫情和人性纠葛而起的闹剧该如何收场？

简介：现实中百般碰壁、只能在漫画中享受万人瞩目荣耀的漫画家苏菲（章子怡 饰），竟意外中了一个新加坡五日游大奖。在两位闺蜜李莉（姚晨 饰）和陆小夕（林心如 饰）的鼓励下，苏菲满怀期待飞赴新加坡。谁知刚出机场，她就遇到和幻想中的王子一模一样的帅哥严大卫（王力宏 饰）。大卫的真实身份是一名特工，此次为追查被窃钻石“幸运星”和神秘买家高先生（高捷 饰）来到新加坡。苏菲稀里糊涂混入私人派对，并阴差阳错拿到了装有“幸运星”的箱子，当然这也将她置身于连番的追杀和争夺战中。　　与超级完美的王子相伴，一贯过着平凡无聊生活的苏菲展开了充满挑战的异国大冒险……

简介：扎希拉在比利时的一个巴基斯坦家庭中长大。因为意外怀孕，她现在正坐在一位医生的办公室里询问可以打掉孩子的方法。犹豫不决的希拉决定向朋友和家人寻求帮助。虽然她的家人对她表示了理解和同情，但是却默默帮她物色了三个远房亲戚作为结婚的对象。父母让她从中选择一个，并且觉得女儿已经得到了自己曾经想都不敢想的“自由”。在宗教世俗和追求自己人生的渴望中，扎希拉必须做出选择。