剧情：
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.收起
相关影片
2030剧情片中国大陆
HD
2026剧情片美国
杰西·巴克利 克里斯蒂安·贝尔 安妮特·贝宁 佩内洛普·克鲁兹 彼得·萨斯加德 杰克·吉伦哈尔 约翰·马加罗 马修·马希尔 珍妮·柏林 兹拉特科·布里奇 路易斯·坎瑟米 朱莉安·浩夫 马西尔·摩丹 安东尼·阿巴图 尼尔·文森特·史密斯 莉迪亚·凯莉 田纳西·金 伊森·杜宾 威尔·达格 伊莲·阿普鲁泽西
孤独的科学怪人弗兰肯斯坦（克里斯蒂安·贝尔 饰）来到了1930年代的芝加哥，恳请顶级科学家尤弗洛尼斯博士（安妮特·贝宁 饰）为他创造一位伴侣。两人成功复活了一名被谋杀的年轻女子，“新娘”（杰西·巴克利 饰）就此诞生。然而事态发展却远超两人想象：谋杀接踵而至，占有欲疯狂滋生，新娘能否挣脱“被创造”的命运？在暗黑混沌的逃亡路上，一场女性觉醒风暴开始席卷整个世界。
更新至高清
2026剧情片中国大陆
宋真宗晚年，青春年少的包拯和好友公孙策，一同破获一起尘封多年冤案。女主角月亮十多年前，全家被奸人所害，为了翻案，打听到传闻中阴阳镜能断是非真假，于是去墓地盗取，结果触碰机关导致展昭被困，为了将其解救，必须破解地穴里的各种机关算术。一筹莫展的月亮刚好遇到聪慧过人的包拯，巧设伎俩利用鬼怪传说，想引包拯去地穴救展昭。但包拯心中秉持正义、公平，从不相信鬼怪传说，救出展昭后，月亮拿到阴阳镜后，坦白自己一家遭奸人所害的事实，凶手还在逍遥法外。为了翻案包拯，利用阴阳镜的传说，使得案件重演，凶手心绪恐惧坦白从宽，认罪伏法
更新至高清
2026剧情片意大利
HD
2026剧情片美国
更新至高清
2026剧情片印度
更新至高清
2026剧情片波兰
HD
2026剧情片中国台湾
HD
2026剧情片阿根廷
HD
2026剧情片中国大陆
更新至高清
正在热播
更多
2025国产剧大陆
更新至第36集
2024剧情片大陆
更新至高清
2025剧情片中国大陆
更新至高清
2025国产动漫美国
HD
2025动作片香港
HD
2025国产剧大陆
更新至第40集完结
2025剧情片大陆
HD
2025国产剧大陆
更新至第30集
2025国产剧大陆
更新至第08集
2025国产剧大陆
已完结
