剧情简介
视频A cautionary tale told in three contradicting accounts; this is a story of a broadcasting student who discovers the shady truth about the TV reporter he idolizes.
里咲视频
视频A cautionary tale told in three contradicting accounts; this is a story of a broadcasting student who discovers the shady truth about the TV reporter he idolizes.
回复 :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.
邦尼泰勒
回复 :卧底警察何金水和上司包正锁定了一家叫新龙堂的养老院有大量黑帮人员聚集。为寻找线索，何金水应聘进入养老院当护工，目的是寻找出在养老院活动的老人们涉黑的线索，同时也发现女院长乔伊和黑帮老人们有千丝万缕的联系，并疑似在为黑帮老人们的犯罪计划提供保护伞。为了寻找真相，何金水渐渐深入调查发现事情并不简单……
潘协庆
回复 :经历磨难回到故土的纳黎萱受到大家敬重，因为虹沙国老国王的死，让纳黎萱重回儿时成为人质的国家虹沙国。纳黎萱儿时的伙伴们也已经长大，回到寺庙的纳黎萱见到了已经亭亭玉立的玛妮仙。两人之间的爱慕之情也逐渐的显现出来，纳黎萱许诺玛妮仙征战归来要和她永远的在一起。纳黎萱开始了征战康城之行，康城驻扎高山之上，易守难攻。起兵之始，由于地形的险恶，导致损失惨重。此时，纳黎萱提出利用敌人作战习惯，假装发动阵势浩大的正面袭击，从而掩护军队背面突击，在这次纳黎萱的率领下，战争大获全胜。此时邦兴被英勇善战，性格刚烈的公主所吸引，上演了一幕战争爱情罗曼史。回到故土的纳黎萱凭借他出色的领导能力打下了大成王国新的基石。纳黎萱父王去世后顺利的登上了王的位置，并宣布大成王国的独立。但是，虹沙国的新国王却虎视眈眈的注视着纳黎萱，不怀好意并想除掉他。由于虹沙国违背诚信，纳黎萱最终向虹沙国宣战。经过腥风血雨的交战，纳黎萱手持神枪，大获全胜。
