Diana, a young woman who lost her sight, finds a guide in a Chinese boy named Chin. Together they will track down a dangerous killer th rough the darkness of Italy.
一毕业就结婚、一结婚就生子的“毕婚族”90后萌妈安安,在儿子5岁的时候被迫终结全职太太的清闲生活。她没能逃脱“毕婚族”大多失婚的诅咒,成了单身妈妈,被打入谷底。一场车祸,把还没结过婚的律政界翘楚许朗变成了80后单身爸爸,他本想一辈子守住车祸的秘密,带着5岁的女儿过平静的生活,却意外结识了安安母子,曾波澜不惊的生活变得鸡飞狗跳。截然不同的两个家庭在误会和和解之间互相治愈,安安实现了成为漫画家的梦想、成为了儿子的榜样。许朗建起了属于自己的律师楼,成为了女儿心中满分的爸爸。最终,两家人变成了一家人,收获了全新意义上的幸福人生。他们经历过许多次第一次挫折后,爬起后,成长后,才发现第二次也很美。
男人总是花心的,所以不知情的女人就遭殃了。为了改变这个状况,亚历克斯(罗曼•达瑞斯RomainDuris饰)挺身而出,跟姐姐、姐夫组成了拯救三人组,专门对付那些负心人。他们的原则有两条:不拆散真心相爱的情侣。不对客户动真情。他们采取的手段是,由亚历克斯向女人主动示爱,而姐姐姐夫后场支援。他会让这个女人爱上自己,并认清花心男友的本质,再与之分手。得手多次之后,他们已经做出了品牌。但是,由于债台高筑,他不得不接受了一单生意:富豪对女儿朱丽亚特(凡妮莎•帕拉迪丝VanessaParadis饰)的婚事不满意,看不上他的未来女婿,所以他要求亚历克斯在婚前10天去拆散他们。从蛛丝马迹,层层推敲,他们发现两人是真心相爱。但是箭在弦上,他只能硬着头皮开始了工作。他假扮朱丽亚特的贴身保镖,接近她,并通过姐姐姐夫搜集的情报,不断投其所好。然而,日久生情,他发现一切都变得不同……
张安军是土生土长的军垦第二代,父母都是127团的老职工。高中毕业的他,报考了天津美术学院。由于竞争激烈,他没能如愿考上大学。入伍后的他遇到了怎样的故事,让他心中燃起了学习音乐的火焰?六年的军旅生涯,转眼就结束了。转业后的张安军回到了奎屯,还想延续一份音乐梦想。他在舞厅当过歌手,开办过自己的舞厅,然而生活并不像他想象得那么美好,经过几年打拼,张安军不但没有成功,还把父母多年的积蓄亏了进去。陷入困境的张安军是该继续自己的音乐梦,还是应该面对现实,重新思考人生?一次偶然的演出让张安军遇到了自己的心上人赵雅婷,两个情投意合的年轻人走到了一起,从此和土地结下了不解之缘。他们在127团12连承包了80亩棉花地,小两口每天早出晚归辛勤劳作,在土地上耕耘着家的幸福。每天辛勤劳作的张安军是否会继续追逐自己的音乐梦,这个庄稼人追梦的路上又经历了多少艰辛?他是否能建立一支属于自己的乐队,实现他的音乐梦想呢?
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.
市长的公鸡是圣维克多小镇的骄傲。它每天早晨准时唤醒小镇居民 起床劳作,小镇经济因此欣欣向荣。一天,居民们被瞌睡虫驱使, 将公鸡赶走,小镇顿时一蹶不振。居民如何挽回呢?本片巧妙地将 市场经济定律融于儿童动画中,以幽默诙谐的画面描绘成人世界的 规则。没有皮克斯那般炫目的动画效果,也不似迪士尼采用逼真的 3D 效果,古典学院派风格亲切可人,唤起儿时温馨回忆。配音阵容 包括了加拿大明星保罗·阿玛拉尼(《刚果风情画》)和安妮·杜 尔瓦勒(《双面劳伦斯》)。
严太师遇刺毙命,护卫范义追击刺客至穷巷,见他踏镖逾墙逸去,而镖乃寇英之器,范遂遍城贴满通缉寇的画像。寇取得遇害县官宋化龙身上的公文,得以入城,却仍为范捉拿,幸得酒店店主的女儿雪娘,自认寇是其表哥,寇才幸免被捕;寇向雪道出自己的身份及真相。其后,范遭假扮成寇的寨主贺西雷袭击,而救回他的竟是。
1945年,第二次世界大战接近尾声,作为邪恶轴心重要成员的日本,其嚣张态势已成强弩之末。是年,决定战局走向的冲绳岛战役拉开序幕,成千上万斗志昂扬的美国大兵被派往冲绳,等待他们的则是敌军重兵防守、凶险异常的钢锯岭。在这群人中间,却有一个不愿拿起武器的军医。他名叫戴斯蒙德·道斯(安德鲁·加菲尔德 Andrew Garfield 饰),来自美国的弗吉尼亚。太平洋爆发之际,瘦弱的戴斯蒙德志愿成为救死扶伤的军医而应征入伍。可因童年和家庭的原因,他始终不愿拿起枪支操练,为此宁愿背上拒服兵役的罪名被送上军事法庭。几经周折,戴斯蒙德最终和战友来到了钢锯岭。枪林弹雨,转瞬之间无数人应声倒地。在信仰和信念的支持下,戴斯蒙德仅凭一己之力拯救了数十条濒死的生命…… 本片根据真人真事改编。
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