偷拍剃毛Thomas and Thomas are going through a rough patch: they are both thirty-something actors living in Paris. They randomly decide to leave the city and fly away to Kullorsuaq, one of the most remote villages of Greenland, where Thomas' father Nathan lives. Among the Inuit community, they will discover the charms of the local customs and their friendship will be challenged.
回复 :《拉雷手》讲述了抗日战争 时期,雷笨带领拉雷手与鬼子展开血战智战, 见招拆招,出其不意大胜敌人的故事。
回复 :本片讲述一名肩负着重振镖局责任的女镖师姚七七，迎来了自己有生之年第一趟远途运镖，护送凉荆王私生子回去继承王位的故事。本片通过刻画描写女镖师姚七七为了自己重振镖局的梦想，护送凉荆国王子方若尘前往凉荆国继承王位来讲述。一路上，姚七七和方若尘经历的各种嬉笑谩骂，险象环生的戏剧情节，战胜了各种危险，顺利的通过了一系列考验，克服重重困难顺利完成了送镖的任务。最终，姚七七完成了自己运镖的梦想，重振自己的镖局，完成父亲的遗愿。同时，方若尘也从一个风流任性的男孩变成了一个真正的男人，认识到身上肩负的责任，在凉荆国安排好一切，选择更适合继承王位的人，和姚七七双宿双飞，有情人终成眷属。由在线播放平台腾讯视频播出，上海腾讯企鹅影视文化有限公司 、坏小弟（北京）影业有限公司出品；坏小弟（北京）影业有限公司制作。
回复 :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.
