局中劫
6.0 |06月29日 |更新至高清
简介:
随着剧情推展,市民被伤等情节陆续出现,片中的火锅店是香港历史的缩影,传承两代,深受坊众爱戴欢迎,男主角从父亲手中接棒经营,努力将它发扬光大。火锅店遇上特殊时期,生意受挫, 男主角身为东主,仍然咬紧
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欧洲的某个地方
32
1.0
已完结
欧洲的某个地方
1.0
更新时间:06月29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.
665
1948
欧洲的某个地方
主演:Artúr Somlay,Miklós Gábor,Zsuzsa Bánki
叶问:终极一战
641
9.0
已完结
叶问:终极一战
9.0
更新时间:06月29日
主演:黄秋生,曾志伟,钟欣潼,陈小春,周定宇,袁咏仪,周楚濋,蒋璐霞,熊欣欣,洪天明,张颂文
简介:1950年,咏春派一代宗师叶问(黄秋生 饰)与妻子张永成(袁咏仪 饰)带同儿子叶准到澳门生活,继而到香港谋生。一次较量,梁双(洪天明 饰)甘拜下风,并拜叶问为师。其后,叶问先后收了李琼(蒋路霞 饰)、陈四妹(钟欣桐 饰)、邓声(陈小春 饰)、汪东(周定宇 饰)、吴赞等人为徒。但最瞩目是与红颜知己珍妮(周楚楚 饰)一段鲜为人知的事迹。  汪东与吴赞好斗,四处与其他门派“讲手”,经常需要叶问调解。某夜,工友们与梁双在天台开会起冲突,叶问出手制伏众人。另一方面,邓声沉迷名利,与贪污警员同流合污。叶问向邓声晓以大义,邓声终暗中协助因引发警民冲突而被捕的李琼获释。  1959年,九龙城寨由江湖中人地头龙(熊欣欣 饰)统领,经营不良勾当。邓声答应暗助魏霸天(卢伟光 饰)的狮队胜出,好让地头龙操控比赛结果。比赛当天,魏霸天偷袭吴忠(曾志伟 饰),叶问出手救助吴忠,击败魏霸天。叶问与吴忠成了莫逆之交。
7902
2013
叶问:终极一战
主演:黄秋生,曾志伟,钟欣潼,陈小春,周定宇,袁咏仪,周楚濋,蒋璐霞,熊欣欣,洪天明,张颂文
华锐嘎布
845
1.0
已完结
华锐嘎布
1.0
更新时间:06月29日
主演:完玛昂杰,仁增卓玛,旦正道尔吉
简介:《华锐嘎布》讲述了华锐草原上发生的一个故事。  老骑手丹增是这里远近闻名的骑手,在每年举行的赛马大会上,他和他的白马总会成为人们目光追逐的焦点,冠军也唯他莫属。丹增渐渐年迈,希望自己的儿子华秀能够继承父业,成为像自己一样出色的骑手。  然而,随着时代的变迁,草原上的摩托车火了起来,华秀也对摩托车喜爱有加。当马匹渐渐淡出牧民生产生活必须品后,马和骑手越来越少,赛马会也随之衰落。面对此景,丹增为自己的夙愿得不到实现而陷入苦闷。  影片紧紧围绕父子之间的冲突,展现了草原上两代人的价值观、人生观的矛盾,以及民族传统文化与现代文化的碰撞。影片真实地再现了改革开放为华锐草原带来的巨大变化。随着生产发展和牧民生活的改善,当地的旅游业悄然兴起,华秀和他的伙伴们率先建起草原旅游景点。他们组织赛马和华锐婚俗表演等,不仅带动了当地牧民致富,也使古老的华热民俗文化得到继承和展示,受到各方游客的赞扬。作者以细腻的笔触记录了丹增一家人的多彩生活,草原牧民间兄弟般的情谊,华秀与仁增卓玛的甜蜜爱情等,将华锐人的亲情、友情、爱情表现得淋漓尽致。
824
2011
华锐嘎布
主演:完玛昂杰,仁增卓玛,旦正道尔吉
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