我是牧本

简介：1949年，饱受战争重创的意大利城市那不勒斯，孤儿卡明和塞莱斯蒂娜相依为命。登上一艘海军舰艇，两个孩子横跨大西洋，前往纽约寻找塞莱斯蒂娜失散已久的姐姐。但是来到陌生的国度，手中的地址没能指引亲人的方向，一场新的冒险又揭开帷幕。本片以费里尼尘封的剧本为底稿，却弱化了“费里尼式”的躁动和怪诞，取而代之的是温馨质朴，仿佛一出传统的意大利三幕歌剧。导演借由两个意大利孩子的眼睛，用新现实主义笔触浸泡童话滤镜，在战后的创伤褶皱中打捞希望的光尘，引领观众穿梭回七十多年前，置身于满是瓦砾的那不勒斯、小世界般的越洋航船和充满了新世界气息的纽约。

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：剧情简介暂缺，敬请期待

简介：自从一场乌龙绑架之后，被割伤脸的婉儿受到杨清音的温柔对待，洛颜也最终决定和大饼相濡以沫，而完全没事的小陌回来后,依然在竹下居欢乐自在，她并未察觉一位刚进入竹下居的名为白篱落的女子将和她发生怎样的争夺，争夺走爹爹留下的《药祖乾坤注》和她仰慕的居主苏沐扇。

简介：故事讲述了一个拥有着世代屠魔家族血统的古小强，因女朋友的闺蜜和男友叶乘风分手，而造就叶乘风化身恶魔、残害生灵；还不知在自己身边女友唐诗雅另有意图，背负屠魔世家使命的古小强，踏上拯救苍生之路...

简介：刑事案件侦察队队长林浩然和战友们受命将毒枭绳之于法，他们以大无畏的牺牲精神和高科技手段与毒枭们斗智斗勇，从蛛丝马迹中发现线索，不畏艰难，一举破获了海州市建国以来最大的毒品制造走私案，还我碧海蓝天。

简介：影片由凯特·贝金赛尔主演，一位母亲与她的儿子在乡下的新宅遭遇的恐怖事件，号称真实事件改编。

简介：罗莎（玛利亚·瑞贝罗 Maria Ribeiro 饰）一晃眼已经迈入了40岁大关，在她很小的时候，父母就离婚了。如今，罗莎自己走入了婚姻，丈夫达度（保罗·维列纳 Paulo Vilhena 饰）是一名调研员，工作就是到各种各样的地方去出差，这也就意味着，家里大大小小的事情和抚养两个女儿的责任全都落在了罗莎的肩上。　　为了补贴家用，罗莎在编剧工作外，还负责给卫浴陶瓷公司写广告策划案，更糟糕的是，她年迈的父亲身体出现了问题，而照顾父亲的职责又一次的要由罗莎来背负。无数的压力和麻烦让罗莎简直喘不过气来。一个家族里隐藏的秘密意外的浮出了水面，这个秘密让罗莎发誓要改变自己的生活。

简介：在海边一所终日窗帘紧闭的隐秘房子里，一个隐居于此的剧作家终日与他的狗为伴。而这样的宁静突然在一个夜晚被一个逃到此处的年轻女子所打破。她想在此避难，不愿离开。然而黎明降至，另一不期而至的事情改变了一切。

简介：希尔克（安东尼·霍普金斯 Anthony Hopkins 饰）是一名大学教授，深受同事和学生们的信赖和喜爱。希尔克有一个美丽贤惠的妻子和三个伶俐可爱的孩子，他的生活堪称人生赢家的典范。然而，在希尔克的内心里隐藏着一个惊人的秘密，虽然他对外谎称自己是犹太人，但实际上，他却是一名非裔，只不过肤色极淡几乎无法察觉。这个秘密让希尔克内心里充满了自卑。　　某日，希尔克在课堂上的一个无心的用词让他的生活产生了翻天覆地的变化。他丢掉了工作、朋友，妻子和孩子也离开了他。在绝望之中，希尔克结识了名为福尼亚（妮可·基德曼 Nicole Kidman 饰），悲惨的童年经历让福尼亚心中充满了伤痛和自卑，但正是这样的相似令希尔克和福尼亚坠入了爱河，两人成为了彼此唯一的依靠。

简介：尤尔加和托马斯满怀期待，开车去孤儿院见准备收养的6岁小姑娘。到了那里，他们却发现闹了个乌龙：迎接他们的是一个 12岁的男孩萨沙。孤儿院院长要夫妇俩要么和萨沙在一起待一天，要么永远失去领养女孩的机会。没有征得丈夫托马斯的同意，尤尔加选择了前者。这一天对尤尔加变得异常艰难——这个小男孩萨沙不仅说脏话、偷东西，还抽烟。托马斯还拒绝跟尤尔加说话。渐渐地，萨沙似乎也知道自己不会被收养了。尤尔加答应带他去游乐园玩。当这一天即将结束时，故事里的三个主人公似乎都对于什么是“一家人”有了新的理解。

简介：描绘主人公岛村（高桥一生）三次前往雪国的温泉旅馆，与当地一名艺妓驹子（奈绪），和一位萍水相逢的少女叶子（森田望智）三人间复杂微妙的情感。