古堡谜钻

内详

笨蛋太郎

3个覆面少年打破社会常态，破坏“世界”的故事，今秋日本艺术院线公映。

地陷

该片是一部讲述因一幢新建别墅掉进水洞而被困的人们的故事的灾难电影，由《华丽的休假》、《摩天楼》的导演金志勋执导。

我女若兰

少女若兰童年时期因患小儿麻痹，导致性格时而消沉时而暴躁。父母对她虽无可奈何，但仍满怀希望。在一个偶然的机会，若兰从兰花的生长到开花之中领悟到生命的意义，并激发起生活的信念。加上父母苦心的照料，一心一意的协助她康发作若兰的努力下，她终于渐渐恢复了健康

西北前线

InBritishIndia,ayoungprincemustbetakentosafeyacrossrebel-heldterritory,andanoldtrainistheonlywaytodoit.

少女玛丽安的冒险

Afterthreeyearsofhidinginaremotepriory,newsreachesMarianthatKingRichardtheLionheartisdead.HerloverRobinHoodisreturningfromthewars.Leavinghersanctuaryshehurriestomeethimbuttheydiscoverallisnotasitseems.WilliamDeWendenal,thedisgracedSheriffofNottingham,hasreturnedfromexileandisoutforrevenge.Ambushed,MarianandRobinfightfortheirlivesandescape,butRobinisbadlyinjured.Deepintheforestandmilesfromhelpandhoundedbyruthlessmercenaries,MarianmustusealltheskillsatherdisposaltokeepRobinaliveandgethimtosafety.

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.

在魔鬼知道你死前

从事高风险投资的安迪最近因为投资失败，手上资金不足，竟打算与弟弟汉克一起到郊外打劫一家珠宝店。而店主正是安迪兄弟的亲生父母。两人计划好后，以为自己已选择了恰当的时机下手，怎料途中发生了意想不到的以外。他们的家庭表面上和睦美满，但实际上家人都各怀鬼胎。身为父亲的查尔斯本想以身作则教育好儿子，怎料儿子却这样不争气。另一方面，汉克却与安迪的妻子有着暧昧的关系。而随着安迪与汉克打劫自家的计划开始，家中一件件不见得光之事也被各人发现了……

21-22赛季意甲第37轮 罗马VS威尼斯

5月15日 21-22赛季意甲第37轮 罗马VS威尼斯

青蛙王子（粤语）

生活在夏威夷的富家子陈立品个性腼腆，情场始终不得意，于是请来香港的老朋友罗旦多实地指导二人在海滩偶遇美女小猫、阿美，试图搭话却铩羽而归。陈父令陈立品赴港调查下属公司账目，不料陈、罗二人发现小猫和阿美正是陈氏企业职员，陈立品为了查账和接近阿美，与罗旦多互换身份。罗旦多得以接近经理秘书小猫，并与贪污的经理陈皮后虚与委蛇。另一方面陈立品以司机的身份渐渐获得了阿美的信任跟欣赏。担心贪污事发的陈皮后请来爱情女骗子袁飘飘，委托她骗取陈立品的感情……

浪漫街头

1992年9月的一天，面的司机发子开车接下夜班的女友，女友的衣衫不整令发子心生疑虑，他撇下急待解释的女友忿忿下楼。在楼下，巧遇错过班车的大提琴手英子，他送完英子发现其传呼机遗忘在自己车上，上面显示要他把呼机送到某地，不料此时一弱智儿童被人撞倒，发子赶忙送孩子去医院，被撞孩子的父母误以为发子是肇事者，不让他离开医院，正做家教的英子闻讯赶到医院为发子解了围。发子要请英子吃饭答谢，此刻俩男人上车说要去某某地方，车行至僻静处，俩人露出劫匪面目，发子赶紧用钱打点。事后越想越窝囊，决心和英子找到这俩可恶的歹徒......

恋爱保质期2019

每段情感关系都有保鲜期吗？影片以多对伴侣的不同视角，解构情感如何在时间消磨中获得调和。