露西亚之后

简介：一位老牌足球经纪人正竭力为旗下状态下滑的球星敲定最后一笔丰厚合约。随着压力渐增，名声岌岌可危，吉米一步步深陷残酷的体育经纪圈，因为这里的人为了赚大钱不择手段。在这场节奏飞快，高压重重的惊悚风波里，孤身一人的他深陷乱局，奋力抗争，而这场危机险些毁掉他的事业与人生。

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：

　　涉毒已深的雪莉（玛吉·吉伦哈尔 Maggie Gyllenhaal 饰）因为抢劫而被判入狱，一晃眼三年过去，当雪莉重新回归社会之时，她，以及这个社会，都已经截然不同了。对于雪莉来说，最重要的事情就是夺回女儿艾利克斯（芮安·辛普金斯 Ryan Simpkins 饰）的监护权，目前她正由雪莉的哥哥鲍比（布拉德·威廉姆·亨克 Brad William Henke 饰）一家人抚养，很显然，鲍比的妻子并不认为雪莉有足够的能力成为一名合格的母亲。
　　某日，雪莉遇见了名为迪恩（丹尼·特乔 Danny Trejo 饰）的男人，这个男人和雪莉灰暗的过去有着藕断丝连的关系。迪恩的出现让雪莉再度陷入了窘境之中，她能够鼓起勇气，和过去一刀两断吗？

简介：

　　Entre la tripulación de la expedición capitaneada por Cristóbal Colón viajan tres hombres que ya deberían haber muerto. Han podido evitar sus ejecuciones a cambio de participar en el incierto viaje. Ahora, han robado la vela de la Santa María y huyen con ella en una travesía errante junto a tres mujeres: la sibila, la curandera y la bruja.

简介：一个俄勒冈州的女人消失了。她留下了一支黑玫瑰和神秘的字条，上面写着：离去但没遗忘。更为神秘的是她的失踪和这张字条反映了多年前发生在纽约的一系列谋杀案。现在，一个男人被控告有罪；一名私家侦探失踪；一名警员知道的比这神秘女人还多；还有一名强悍的女律师陷入了一个充满奸诈、报复和多重谋杀的迷局中……

简介：电影回顾了匈牙利风雨飘摇的20世纪。一位92岁的匈牙利女性在与五十多岁女儿的对话中，回顾了她惊心动魄的一生。她成长于匈牙利动荡的年代，与一位帅气的军人一见钟情，为了避免战争的冲突，她一生搬家了27次。电影以幽默和温情的方式来呈现了这段不凡的个人经历。它不仅是一位女性的个人史，亦是匈牙利的国家历史。

简介：

中文名惊恐时分 　　导    演董玲 　　编    剧高黄刚 　　类    型剧情片 　　主 演：袁苑 李婷 王戎 热合曼 吴新 　　三个盗墓贼在墓穴中得到一颗夜明珠，德龙起心独吞宝珠，他将墓穴口封死，杀掉了同伙袁刚和金贵。德龙又与走私犯李富和鲁三密谋，要将夜明珠倒卖给境外珠宝商。他怕出意外，把宝珠藏在一对玩具洋娃娃中，准备亲自夹带出境。机场大厅里，靳云泰领着盲人妻子梅霞和儿子小宇走来。德龙灵机一动，想利用小宇将洋娃娃带过安检口。谁知只有靳云泰一人登机，梅霞和小宇已乘出租车回家。德龙急忙下机，同伙李富、鲁三逼问夜明珠的下落，德龙再三解释。经过四处打听，他们终于摸到了梅霞家。三个歹徒把梅霞骗出去，在房间到处翻找，没有找到宝珠。原来小宇把洋娃娃落在出租车里，女司机准备送回来。但是，女司机送来的洋娃娃里没有宝珠，歹徒们又把梅霞骗出，对女司机软硬兼施，也没有得到宝珠，歹徒们凶残...

简介：

孤儿海蒂（阿努克·斯特芬 饰）被姨母迪蒂（安娜·希恩斯 饰）送上了阿尔卑斯山，与远离小镇独居于高山的祖父（布鲁诺·甘茨 饰）一同生活。活泼的海蒂在这里如鱼得水，不仅收获了羊倌彼得（奎林·阿格里皮 饰）的友情和孤僻祖父的亲情，还与山下彼得的家人打成一片。一天，海蒂同彼得在山上放羊，姨母突然出现，连哄带骗将海蒂卖到法兰克福的泽塞曼家。从此，目不识丁的海蒂成为了小姐克拉拉（伊莎贝尔·奥特曼 饰）的伴读。克拉拉幼年丧母，大病一场再不能站立，只能被困在豪宅中与轮椅相伴。父亲（马克西姆·梅米特 饰）常年在外很少回家，寂寞的克拉拉把海蒂当成了救命稻草。海蒂能适应泽塞曼家的新生活吗？远在天边的祖父和彼得还能再见吗？克拉拉的腿还有好起来的希望吗？

简介：抗战时期的东北某地。被日寇突袭后的抗联驻地尸横遍野满目疮痍。小战士铁子（朱激文 饰）抱起幸存的婴儿小石头追赶失散的部队，他在途中遇见抗联后代丫蛋（韩莉 饰）和文文（朱可欣 饰），一行人在天黑前走进森林。一夜煎熬过后第二天继续赶路，不料遭搜山的伪警察关押，他们趁其醉酒逃了出来。深山老人（茂路 饰）因送孩子们过河被敌人杀害，三个孩子靠鸟蛋喂养着嗷嗷待哺的小石头，一只受伤的梅花鹿成了他们的好朋友，行进中与孩子们形影不离。有一天母鹿与他们走散，寻鹿的铁子发现一头恶狼正追赶母鹿，他举枪向恶狼射击，枪声惊动了搜山的敌人，他们慢慢围拢过来。千钧一发之际，抗联分队的战士们也寻着枪声疾步赶来......

简介：玛丽卡是一位匈牙利寡妇，住在布拉迪斯拉发郊外。1942年，她在自己的谷仓里发现了一个躲藏的犹太男孩西蒙。尽管心存疑虑和恐惧，她还是决定庇护他。同时一位纳粹军官对玛丽卡产生了兴趣，并经常拜访她。玛丽卡必须在保护西蒙和保障自身安全之间艰难抉择……

简介：SWORD地区的O，通称漆黑的凶恶高中鬼邪高校。那里分为定时制和全日制，定时制的番长·村山良树(山田裕贵饰)成为支撑着鬼邪高校的头。转学进入鬼邪高校的全日制新生，花冈枫士雄(川村壱马饰)，为了有朝一日能向村山挑战，下定决心夺取全日制的天下。全日制由实力上处于领先 地位的轰（前田公辉饰）和芝（龙饰）、辻（铃木昂秀饰）轰一派、统领两年级的中越（神尾枫珠饰）和一年之隔的中冈（中岛健饰）率领的中冈一派、以残暴的战斗方式闻名的泰志（佐藤流司饰）、清史）率领的泰·清一派、和枫士雄曾经住在同一个地区的司（吉野北人）和其手下的果酱男（福山康平）统领的司一派等　　新一世代各个派迎来了争夺霸权的一大战国时代。　　在SWORD地区的邻镇·户亚留市，除了干部以外全员光头的最强军团，凤仙学园的势力在逐渐增强。在过去被誉为最强凤仙，以头目·上田佐智雄（志尊淳饰）为首，小田島有剑（盐野瑛久饰），泽村正次（葵扬饰），仁川英明（小柳心饰），志田健三（荒井敦史饰）的四个人组成的凤仙四大天王，干部沙巴干（坂口涼太郎饰）们，集齐了最强的阵容。　　这个时候，凤仙的学生突然遭到自称鬼邪高的人的袭击，同时鬼邪高的学生也遭到了自称凤仙的人的袭击。以同伴被袭击这一原因为契机，两校互相敌对，杀气腾腾。　　以枫士雄为首的个性派汇聚一堂，拥有压倒性力量的鬼邪高校，以佐智雄为首组织化的凤仙学园，在黄昏的河滩上相互碰撞的顶峰之间，决战拉开帷幕。

简介：

四零年代捷克被纳碎占领时期，艾莉卡被迫从医学院退学，转而成为市立医院的白衣天使，并且加入男友李察等人所组成的反抗军行列中。一个夜晚，一名生命垂危的病人乔沙急需输血，艾莉卡是唯一符合血型的人，两人因此结下不解之缘。好景不常，反抗军计划曝光而成为通缉对象，李察不惜远走他乡，来不及逃跑的艾莉卡，被迫藏身于乔沙安排好远离尘嚣的山间小屋，从此改头换面成为农妇汉纳，在齐勒帷过着遗世独居的生活，日复一日年复一年。