备注：已完结
类型：剧情片
主演：Akbar Meshkin Soraya Ghasemi Leila
导演：纳塞勒·泰格伊
语言：其它
年代：未知
简介：A former army colonel comes from a village to live in the city with her daughters where he finds it hard to adapt with the modern life.
备注：已完结
类型：战争片
主演：格莱戈尔·科林 Dzemail Maksut 拉宾娜·米特威斯卡 米莉
导演：米尔科·曼彻夫斯基
语言：其它
年代：未知
简介： 在马其顿，战争中的波斯尼亚，东正教的一位年轻修士以沉默保护一位年轻女孩，这位阿尔巴尼亚女孩涉嫌杀害一位东正教徒。但其实只是误会。修士以自己的善良决定与女孩私奔。 在伦敦，一位摄影记者（凯特琳·卡特利吉 Katrin Cartlidge 饰）在餐馆与她的丈夫谈论感情变淡的问题，二人争吵激烈之时，一名种族主义者冲入餐馆开枪扫射。爱，在生死之间突然变得清晰。 一位离开好友的摄影记者（拉德·舍博德兹加 Rade Serbedzija 饰）从伦敦出发，回到16年没来的老家马其顿。这里有他的老朋友，他的东正教朋友们，还有与阿尔巴尼亚人的种族矛盾。摄影记者尝试通过和解的方式化解纷争，但是，这一切远没有他想象的那么简单。 “圆圈不是一个圆。”三段相互交错的故事，不同文化、宗教、民族的误会造成的悲剧。
备注：已完结
类型：喜剧片
主演：埃尔登·汉森 基南·卡尔金 哈利·戴恩·斯坦通 吉娜·罗兰兹 Doug
导演：彼德·切尔瑟姆
语言：英语
年代：未知
简介： 麦克斯韦尔（埃尔登·汉森 Elden Henson 饰）的父亲是一名杀人犯，再加上他自身患有智力障碍，虽然生得人高马大，但麦克斯韦尔的一生都是在耻笑和欺侮中度过的，可尽管命运待他是如此的的不公，麦克斯韦尔依然保留了他那颗如同金子般的善良内心。 凯文（基南·卡尔金 Kieran Culkin 饰）从小就体弱多病，却拥有聪敏过人的头脑。母亲担心他因为体格的原因被同龄人欺负，因此生活里对他处处保护，这在无形之中给凯文带来了困扰，让他非常渴望自由的滋味。在机缘巧合之下，这两个如同两块拼图一般契合的男孩相遇了，他成为了他的保护伞，他成为了他的头脑，两人珍贵的友情化作养料，滋养了他们的一生。
备注：已完结
类型：喜剧片
主演：德鲁·巴里摩尔 詹姆斯·伍兹 阿兰·金 肯尼思·麦克米伦 罗伯特·海斯
导演：刘易斯·蒂格
语言：英语
年代：未知
简介： Richard Morrison求助于一家成功的公司"Quitter'e Incorporated"来戒烟,这家公司是由Vinnie Donatti博士来主持,并且向每位客户保证可达到戒烟的目的,不幸的是,这项戒烟计划内的3项措施将足以使得Morrison与其家人丧命..... 一位职业网球员被发现和黑道大哥的女人有染,他被迫作出选择,一是被杀,另一是自愿沿着大楼高层的突出外沿来走一圈,若顺利完成他将可永远与其女友相处在一起..... 小女孩常常受到那位居住在其房间墙内的小鬼所惊吓,问题是她的父母都不相信她的话.....
备注：已完结
类型：爱情片
主演：在熙 李成延 李忠秀 Hyuk-ho Kwon Jeong-ho Ch
导演：金基德
语言：韩语
年代：未知
简介： 泰石（在熙饰）是个无所事事的年轻人，他每天骑着摩托车挨家发传单，将它塞入钥匙孔中。如果过几天传单还没有被人拿掉，泰石就会撬开锁进去小住一段时间，在那洗澡做饭拍照。作为交换，他会帮主人家做些家务、打理房间。 一次，他在一所空房子里遇见了一个被丈夫施虐折磨过的女人善华（李丞涓饰）。她浑身青肿，眼神里流露着哀怨。逃走后的泰石惦记着善华，再返回她家时，恰好碰上善华的丈夫在虐待她，他当即出手，带走了她。 后来，他们两个人恢复到以前的神秘生活，结伴一起寻找空房间，虽没有言语交流，却彼此默契。一次他们进入陌生人房间时，发现一具老人的尸体，他们为他办了一个认真的葬礼后就在这件屋子快乐的住下。直到一天老人的儿子找上门来，他们被当作杀人嫌疑犯带走。泰石锒铛入狱，善华被老公带走。但是故事并没有在这里结束。
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
导演：Rafi Bukai
语言：其它
年代：未知
简介：1967年6月5日，以色列出其不意对周边阿拉伯国家发动第三次中东战争，并在六天内赢得胜利。在埃及宣布战争失败后，几名缺水缺粮的埃及士兵想穿越已被以色列占领的西奈沙漠到苏伊士，回到和平地区。 本片是作品寥寥的以色列导演Rafi Bukai的处女作，他从几名埃及士兵的视角来表现这部“人道主义的，反战的，无关政治的”作品。 本片在1986年瑞士洛迦洛电影节上获得了一个奖，同年代表以色列角逐奥斯卡最佳外语片。
