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3.0 |05月20日 10:49 |片长97分钟 |正片 |共1集
简介:

一位失去母亲的女儿、一位失去女儿的母亲、一位失去挚友的闺密,她们携手走出伤痛,一起追逐梦想! 19岁的柯丽莎梦想实现母亲开在诺丁丘的烘焙店梦想。

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有一天我看到你的心
386
2.0
正片
有一天我看到你的心
2.0
更新时间:05月20日 10:42
主演:米歇尔·布朗,梅拉尼·罗兰
简介:

法国女演员梅拉尼罗兰算是法国年轻一代演员中的佼佼者,曾经跟让雷诺、布拉德皮特和伊万麦克格雷格等众多知名演员都有过合作。2007年她还获得了法国电影凯撒奖“最具前途女演员奖”。在电影《突然之间我好想大家》中,罗兰扮演的叛逆女儿,与老爸上演了一场不一般的“父女大战”。自古以来家家有本难念的经,这句话对于艾利来说可是深有体会。眼看就快要步入60岁了,艾利又将迎来自己的第三个孩子。这本来是件喜事,不过与即将出生的宝宝相比,艾利现在对高尔夫球更加着迷。与此同时,艾利的另外两个已经成年的女儿同样让他头疼不已。大女儿唐整天想着领养一个小孩,二女儿贾丝廷换男朋友的速度比风车转得还快,而且总在他们之间摇摆不定。为了能和一直跟自己作对的贾丝廷搞好关系,也为了能让她快点稳定下来,艾利突发奇想,他决定先跟贾丝廷的前男友们混熟,变成哥儿们,然后从中给贾丝廷挑选一个合适的对象。当然贾丝廷并不知道这个疯狂的计划,这时她已经开始了另一段新的恋情。不过艾利决定从中作梗,要偷偷把这段新恋情搅黄。可是纸终究包不住火,贾丝廷还是发现了这一切,父女之间的关系紧张到了空前的高度。对于差点毁掉父女之情,艾利后悔不已,于是他想尽一切办法来改善和贾丝廷的关系。叛逆女儿和操心老爸的组合一向都是电影偏爱的题材。两代人之间不可逾越的代沟也成为了编剧们制造笑料的天然基础。不过笑过后就会发现,亲情其实是任何代沟都割不断的永恒纽带。

458
2011
有一天我看到你的心
主演:米歇尔·布朗,梅拉尼·罗兰
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
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