街头男战士

内详

苹果树下的爱情

　　讲述了在我国新农村建设的背景下，发生在齐鲁大地的一名叫王宝顺的年轻人为了推销家乡的苹果，突发奇想要在苹果园里举办拳击赛的故事。故事中穿插发生在新农村的爱情故事，还将引入喜剧等时尚元素

欧洲的某个地方

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.

2023清明奇妙游

气清景明，万物皆显，最是人间四月天，一愿盛景最清明！《2023清明奇妙游》是河南卫视打造的“中国节日”系列节目，将以天地为舞台，表现天地有大爱的主题。

彩票中了十亿老婆要和我离婚

暂无简介

甄心分享小琳鐺

我的下位来宾鼎鼎大名 第五季

John Mulaney returns to his Chicago high school with David Letterman as they candidly discuss addiction, fatherhood and the state of stand-up comedy.

装台

47岁的刁大顺带领一群精壮汉子在西安从事舞台演出的装台工作，他们装台的既有本地秦腔剧团、也有各色歌舞演出、婚丧嫁娶的表演，因此也遭遇了五行八作、各色人等。无论他人怎么看待、但顺子他们始终认为这是一份和...

有妈的孩子

暂无简介

离婚后我是前夫的白月光

暂无简介

雨霖铃[预告片]

玲珑山庄大小姐霍玲珑因逃婚离家出走，在山间客栈偶遇一个身负绝技又身受重伤的黑衣人。黑衣人行迹神秘，被正邪两派同时追杀，却对她屡屡出手相助。霍玲珑心生好奇，后得知黑衣人竟是南侠展昭，此番被各路人马追杀，皆因他拿到了襄阳王的罪证。展昭连克劲敌之后，眼见自己毒伤难治，便将证据托付给霍玲珑，又牵制住敌人帮助霍玲珑脱身，自己却陷入埋伏。对方以百姓性命相要挟，展昭为救百姓，最终被俘。霍玲珑被襄阳王的手下、亦是她的未婚夫邵继祖追上。邵继祖欲夺霍玲珑手中证据，霍玲珑在一位白衣少侠的指点下打败了邵继祖。这位白衣少侠便是大名鼎鼎的“锦毛鼠”白玉堂。霍玲珑和白玉堂合力救出了展昭。展昭在二人的协助下一路搜寻线索，行侠仗义，捉拿罪犯，撕破襄阳王多年来编织的遍布朝野和江湖的势力网，最终挫败了襄阳王的阴谋，还百姓安宁。

捧起希望的双手