-
备注：已完结
类型：喜剧片
主演：简·拉塞尔 玛丽莲·梦露 查尔斯·科本 埃利奥特·里德 托米·努南 乔
导演：霍华德·霍克斯
语言：英语
年代：未知
简介：罗丽拉（玛丽莲·梦露 Marilyn Monroe 饰）和桃乐西（简·拉塞尔 Jane Russell 饰）是舞台上的好搭档，生活中的好伙伴。艳光四射的两人走在一起，吸引了无数男人的目光，然而，她们并非空有一副好皮囊，论智商，罗丽拉和桃乐西可不输给任何人。 某日，罗丽拉登上了驶往法国的轮船，前去和情人艾仕文（埃利奥特·里德 Elliott Reid 饰）结婚，在船上，两人遇见了一名为古斯（托米·努南 Tommy Noonan 饰）的男子。原来，古斯是艾仕文父亲派来的私家侦探，为的是考验罗丽拉对自己儿子的真心。随着时间的推移，桃乐西竟然慢慢爱上了善良的古斯，但罗丽拉很显然帮自己的好闺蜜相中了另一位“金龟婿”。
-
备注：已完结
类型：喜剧片
主演：利奥·坎皮昂 吉约姆·德·东克戴克 梅拉妮·杜泰 弗朗索瓦-格扎维埃·
导演：克里斯托夫·巴哈蒂
语言：法语
年代：未知
简介：马赛，1905 年 7 月。年轻的 Marcel Pagnol 刚刚完成他的小学学业。三个月后，他将进入“高中”。三个月……在你这个年纪的时候是永恒的。因为它是假期时间，大城市的孩子，期待已久的回归他亲爱的欧巴涅山丘，那些“我父亲的荣耀”和“我母亲的城堡”让他快乐。
-
备注：已完结
类型：剧情片
主演：莱昂纳多·斯巴拉格利亚 爱德华多·诺列加 巴勃罗·埃查里 蕾蒂西亚·布
导演：马西路·品尼路
语言：其它
年代：未知
简介：内勒（莱昂纳多·斯巴拉格利亚 Leonardo Sbaraglia 饰）和安吉尔（爱德华多·诺列加 Eduardo Noriega 饰）是一对被称为“双胞胎”的暴力匪徒，形影不离的他们实际上是同性恋人的关系。两人相识于一个同性恋出没的公共厕所，内勒把无家可归的安吉尔带回家，自此二人同居，一起生活，一起作案。安吉尔患有严重的幻听，时时听到聒噪的声音，受这些声音的支配，安吉尔开始拒绝内勒的触碰。隔阂渐渐在二人之间产生，内勒知道，只要他们再合作干一桩大案，就能重新找回“双胞胎”的感觉。他们参与了一桩由一名政府官员策划的抢劫案，两人以及同伙一起打劫了银行的运钞车。抢劫过程并不顺利，安吉尔中枪，内勒把警察都杀死了，他们犯下了惊天大案。为了逃避追捕，他们带着抢来的钱，展开了逃亡之旅。 本片改编自1965年发生在阿根廷的真实犯罪事件。
-
备注：已完结
类型：剧情片
主演：Artúr Somlay Miklós Gábor Zsuzsa Bá
语言：其它
年代：未知
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.
-
备注：已完结
类型：剧情片
主演：安东尼奥·班德拉斯 艾玛·汤普森 玛丽亚·卡纳尔斯-巴雷拉 卢宾·布雷
导演：克里斯托弗·汉普顿
语言：英语
年代：未知
简介：故事发生在风景如诗如画的阿根廷布宜诺斯艾利斯。卡洛斯（安东尼奥·班德拉斯 Antonio Banderas 饰）是一名剧作家，因为创作过几个成功的剧本而拥有着不小的名气。卡洛斯和妻子西西莉亚（艾玛·汤普森 Emma Thompson 饰）结婚多年，两人之间的感情一直十分恩爱。西西莉亚是一名记者，在业内小有名气，她和卡洛斯一直被朋友们视为一对金童玉女，十分相配。 然而某一日，因为所撰写的新闻稿触痛了当局者敏感的政治神经，西西莉亚被秘密的抓紧了集中营中。妻子生死未卜，卡洛斯陷入了绝望和痛苦之中，他愿意付出一切代价，让妻子重新回到他的身边。奇怪的是，自打西西莉亚失踪后，卡洛斯发现自己获得了一项特异功能——能够通过那些和西西莉亚一样遭到秘密逮捕的人们的照片中发现他们的下落。
