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解忧音声馆
2025 3.0分 剧情片
文乐和他的“山崩乐队”享誉摇滚界。乐队成员方婷暗恋文乐,但被逼嫁他人,追逐中遭遇车祸。文乐因此失去灵感,逃避现实,偶遇老音乐家杜笙,在他的音乐治疗中心重燃对音乐的热爱。最终,文乐与方婷重逢,并揭开了杜笙隐藏多年的秘密。
HD国语
奇怪的记忆
2025 2.0分 剧情片
隐修士尤文化与妖姬叶阡陌几世相识相忘。再次相遇于21世纪,妖姬却被天尊利用,以御姐、熟女、冷艳三种类型接近尤文化以获其精元。而他面对几世恋人的追杀、记忆的恢复、隐修界的大劫和他的百年雷劫,复杂的形势,他又如何面对,反败为胜,坚守住自己的爱情。
HD国语
电幻国度
2025 7.0分 剧情片
  《电幻国度》是一部壮观的冒险片,由《复仇者联盟 4:终局之战》 的导演倾情打造。故事设定在一个充满复古未来色彩的 20 世纪 90 年代。米莉·波比·布朗(《怪奇物语》、《福尔摩斯小姐》、《少女斗恶龙》)饰演米歇尔:她是一名孤儿,在一个貌似卡通吉祥物的机器人曾与人类和谐共处、却因一次起义失败而流亡的社会中努力求生。一个夜晚,神秘而可爱的机器人科斯莫闯入了她的生活,打破了米歇尔对世界的认知。科..
HD中字
老狗2025
2025 1.0分 剧情片
  一条地下运毒链条牵扯出帮派小头目老狗(姜武 饰)、地头蛇三哥(包贝尔 饰)等人所在的地方帮派的交易网。在老狗管理的狗市里,愣头青东子(刘奕铁 饰)阴差阳错地卷入这场漩涡中,并获得老狗赏识成为其最心腹的小弟。帮派老大葛爷的离奇暴毙,让权力真空引发惨烈厮杀,几大狠人血拼上位,神秘势力暗中操盘,然而东子的身份也似乎并不简单。在情谊和生死面前,人性赌局的考验也让事态变得越来越扑朔迷离。
HD国语
老狗2025
2025 4.0分 剧情片
  一条地下运毒链条牵扯出帮派小头目老狗(姜武 饰)、地头蛇三哥(包贝尔 饰)等人所在的地方帮派的交易网。在老狗管理的狗市里,愣头青东子(刘奕铁 饰)阴差阳错地卷入这场漩涡中,并获得老狗赏识成为其最心腹的小弟。帮派老大葛爷的离奇暴毙,让权力真空引发惨烈厮杀,几大狠人血拼上位,神秘势力暗中操盘,然而东子的身份也似乎并不简单。在情谊和生死面前,人性赌局的考验也让事态变得越来越扑朔迷离。
HD国语
破碎
2025 6.0分 剧情片
  讲述一位警察调查杀人事件时获知此事件与畅销书十分相似之后发生的悬疑惊悚电影。河正宇饰演结束黑帮生活作为施工工人生活的民泰,某天弟弟突然行踪不明,然后去追逐事情真相的人物。刘多仁饰演被怀疑是杀人嫌疑人的已过世的毒犯丈夫的妻子,郑满植饰演黑帮头目,金南佶饰演畅销书作家浩岭。
HD中字
赤血营救
2025 7.0分 剧情片
  电影《赤血营救》讲述了江离(姜艺声饰)在女儿失踪后,独自前往异国他乡,在营救女儿的过程中,与当地拐卖人口倒卖器官的黑恶势力头目杰克(邵峰饰)斗智斗勇,并协助当地警局局长察猜(英壮饰)共同营救了众多受害儿童、消灭了该黑恶势力的故事,
HD国语
魅味
2025 1.0分 剧情片
  一个富裕的德国家庭在普罗旺斯的夏日假期期间聘请了一位年轻女子作为女仆。渐渐地,这个家庭的整个生活发生了变化——并带来了戏剧性的后果。
HD中字
一胜
2023 2.0分 剧情片
  讲述在人生中从未尝到过成功的排球教练遇到只要取得一次胜利就可以的女排队后开始挑战的故事。
HD中字
黑修女们
2025 1.0分 剧情片
  影片为《黑祭司们》的续作,讲述修女们为了拯救被强大的恶鬼附身的少年熙俊(文宇振 饰)而进行驱魔仪式的故事。
HD中字
瀚海神龙
2025 7.0分 剧情片
  被困千年的黑龙叶英逃脱,他夺走金龙法力又重伤了老龙王,新任龙王傅熙为夺回金龙法力去往妖市寻找降魔剑,怎料误入圈套,降魔剑得而复失,傅熙激发自身潜能,夺回了老龙王的金龙法力。
HD国语
苍月
2025 7.0分 剧情片
汤朵儿  /
大唐年间,建王李勇伙同奸相马立夫趁天子病危之际,软禁太子李春,把持了朝政,并欲密谋政变。金吾卫将军林燕和九门总捕头陈利被卷入到这场诡谲的漩涡之中。林燕只得孤身试险,凭借高超的武艺连夜劫牢搭救受困太子,险些丧命。
HD国语

《欧洲的某个地方》剧情介绍

天天影视网提供影视作品欧洲的某个地方高清全集在线观看的影视全集网,剧情片《欧洲的某个地方》全集作品的导演是Radványi  Géza   ,由Artúr Somlay  Miklós Gábor  Zsuzsa Bánki  主演,欧洲的某个地方在豆瓣的评分为5.0,本片由小编于2025-02-10 01:35更新,希望大家喜欢,可以把《欧洲的某个地方》推荐给你朋友,本作品的地址为 https://www.5vxx.com/5v/index/29952.html

《欧洲的某个地方》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.

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