蹩脚英语
316
10.0
已完结
蹩脚英语
10.0
更新时间:04月18日
主演:梅尔维尔·珀波,帕克·波西,德瑞·德·玛泰,蒂姆·金尼,吉娜·罗兰兹,彼得·博格丹诺维奇,罗伊·辛尼斯,迈克尔·潘斯,贾斯汀·塞洛克斯,Philip Pavel,丹娜·爱薇,威廉·怀斯,约什·汉密尔顿,卡蒂琳·基茨
简介:35岁的诺拉(帕克•波西 Parker Posey 饰)是曼哈顿的一个成功的职业女性――她是一间高级酒店的客服主管。虽然她精明能干,一眼就能看穿客人的需要,但是她却一直未能找到自己的爱情归宿,她在处理感情方面简直一塌糊涂。诺拉曾同酒店的客人――明星尼克发生过关系,但当她满怀憧憬的时候,才发现对方不过是为了演出而和她体验生活。  在一个个“第一次约会”失败后,心灰意冷的诺拉遇上了说着一口蹩脚英语的法国人朱利安(梅尔维•珀波 Melvil Poupaud 饰)。两人的感情迅速升温,可是朱利安很快就要回法国了,他邀请诺拉和他一起“私奔”。可是感情屡受挫折的诺拉竟忽然没了信心,拒绝了朱利安。当朱利安回国后,诺拉才恍然大悟:自己再也没法忘掉这个男人。于是她在好友陪伴下来到了巴黎。
4680
2007
蹩脚英语
主演:梅尔维尔·珀波,帕克·波西,德瑞·德·玛泰,蒂姆·金尼,吉娜·罗兰兹,彼得·博格丹诺维奇,罗伊·辛尼斯,迈克尔·潘斯,贾斯汀·塞洛克斯,Philip Pavel,丹娜·爱薇,威廉·怀斯,约什·汉密尔顿,卡蒂琳·基茨
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
远亲
643
8.0
已完结
远亲
8.0
更新时间:04月18日
主演:王伟,兰婷,黄静宜
简介:陈娟的奶奶煮饭点柴火时不慎引燃了周围柴草火势迅速蔓延,正在不远处走访的村妇联刘主任急忙带人奔跑过来…… 刘主任决定用新招,她经村上同意把这事放到了网上去,一连几天没反应。 正巧市爱心社区志愿服务指导中心的程渝、胡希夫妇在网上看到消息,他们感概之余辗转联系到了刘主任,一路奔波见到了祖孙三人。程渝夫妇一方面 对他们进行心理与情感的安抚,一方面捐助款项改善他们的生活条件,陈渝夫妇的大爱行动在当地传为佳话。 虽然有了爱心的温暖,陈娟依然给父母写信却多了几分埋怨。 接下来刘主任会同程渝夫妇联手立即启动“寻找工程”。原来陈妻范晓梅两年前下班时摔伤成为植物人,陈春明打工照顾妻子生活也十分艰难,因此不敢向家里说也不敢回家。刘主任立即让村上的人告诉了陈 娟并接通了电话,电话的两端父女泣不成声,在场的人也都潸然泪下……陈春明万分感动跪谢程渝夫妇对儿女的再造之恩。 程渝他们还决定为范晓梅讨回公道,在律师的协助下范晓梅的工伤得到认定,厂方给予了治疗与赔偿费用。 程渝一行把范晓梅转回到家中进行康复治疗,陈娟姐弟与父亲抱头嚎啕痛哭……范晓梅在家中经过治疗和儿女每天的呼唤,终于也恢复了知觉……陈娟又写了一篇作文,将来如果自己有了家,一定不会和父母家人分开…… 当地经过多方努力旅游资源得到开发,建起了产业园区,制定了回乡“双创”人员的优惠政策,在彻底彻底解决留守儿童和空巢老人问题迈出了一大步。 程渝夫妇怀着恋恋不舍的心情,一步一回头地离开了他们传递过真情大爱的山村…
672
2017
远亲
主演:王伟,兰婷,黄静宜
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