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备注：已完结
类型：其他综艺
主演：Joann Fletcher Tamara Tunie
语言：其它
年代：未知
简介： Dr. Joann Fletchers, an Egyptologist finds three abandoned mummies in a tomb in the Valley Of Kings. She thinks the third mummy is the forgotten legend, once the most powerful woman on earth; Nefertiti. With the help of modern day technology and scientists she tries to uncover mysteries surrounding the life of Nefertiti. But is the mummy really Nefertiti?
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备注：已完结
类型：动作片
主演：布鲁斯·威利斯 莎拉·杰茜卡·帕克 丹尼斯·法里纳 汤姆·塞兹摩尔 布
导演：罗迪·赫林顿
语言：英语
年代：未知
简介：汤姆（布鲁斯·威利斯 Bruce Willis 饰）出生于警察世家，他与父亲文森特（约翰·玛哈尼 John Mahoney 饰）不仅同为警察，两人还经常作为搭档一同执行任务。在一次意外中，文森特不幸身亡，父亲的死让汤姆感到了深深的愧疚，他陷入了自责和悲伤中无法自拔。 一起连环恶性凶杀案件的发生让整个匹兹堡陷入了恐慌之中，通过种种线索的调查，汤姆坚持认为凶手系警方人士，汤姆因此而遭到了业内的排挤和降职。时隔两年，类似的凶杀案再度发生，对案件依旧耿耿于怀的汤姆决定独自调查此事。随着调查的深入，汤姆惊讶的发现凶手竟然和父亲的死有着千丝万缕的联系，而汤姆的一举一动，似乎都在凶手的掌控之中。
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备注：已完结
类型：爱情片
主演：杰拉丁·卓别林 安吉拉·摩琳娜 Ángela Molina 亚力杭德拉
导演：卡尔森·亨宁
语言：其它
年代：未知
简介： 九十岁的老记者（Marco Antonio Treviño 饰）要迎来自己的寿辰，于是致电老朋友——妓院老鸨罗萨（Geraldine Chaplin 饰），要求她为自己找一个处女过夜。一位年轻的女工（Alejandra Barros 饰从此进入老人的生活，白天，她在工厂缝扣子，晚上，她穿过半个城市来到妓院，裸露睡下供老人把玩，在他面前始终昏迷不醒。老人把她叫作德尔加蒂娜，慢慢发觉自己爱上了她，在沉睡的她面前，他回忆起自己一生的所有风流荒唐，家里的洗衣妇，订过婚又被他抛弃的女孩，夜夜笙歌的妓院美景……他越来越发觉自己已经离不开德尔加蒂娜，而她在他睡着后也会偷偷观察他的一切，对他颇有好感，但是一场意外发生的凶杀案令妓院被迫关闭，德尔加蒂娜就此不见，老人开始发疯寻找……
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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.
