黑洞2000

小镇上一个当地的DJ错误地释放了一个地狱般的诅咒，原来三百年前在塞拉镇上的乡民每天走着的这条街道，曾经聚集了无辜的人们，他们因为身为女巫而被判有罪并且将执行死刑。这就是塞拉的领主在塞拉实行的铁腕手段，但是四个女巫在被拷打和杀害时秘密发誓，总有一天他们会回来报仇的。

　　俄罗斯电影《我们来自未来2》是2008年俄罗斯热门影片《我们来自未来》的续集。                                                                    　　《我们来自未来》是一部穿越影片，在当年曾引起强烈反响，被称为“俄罗斯2008年最优秀的电影作品”。讲述了圣彼得堡四个靠倒卖二战文物为生的年轻人从现代穿越时空隧道，重回战火纷飞的1942年，经历了伟大卫国战争的炮火硝烟洗礼后又回到现代，在短短的62个小时过后变得成熟的故事。                                                                    　　续集继续了他们在卫国战争中的冒险，由于加大资金投入，战争场面更为逼真，精心打造的动作戏也更具观赏性，当然，浪漫的爱情也是片中一大亮点。

天生拥有异能的市井混混李可儿，无意中闯入一座四合院，结识了同样拥有异能的熊波、千禧等人，并被莫名地卷入一场与赌魔任尔行的争斗中。在爱情、友情的激励下，李可儿最终凭借异能和勇气战胜了任尔行。

有一天，馬古路星人及孿生怪獸來襲地球。當時身任地球防衛隊MAC的隊長諸星團，立即變身為賽文奧特曼迎戰。但不敵，幸得雷歐奧特曼現身相助，才合力把怪獸趕走。在此戰役中，諸星團因傷重而瘸腿，且損壞了奧特眼鏡，便再不能夠變身成賽文了。因此，他誠邀鳳源（雷歐奧特曼）加入MAC，並委以保衛地球的重任。

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.

一对男女相遇并试图谈恋爱，尽管他们有个人问题和不赞成的朋友的干涉。

彩玉（河智苑 饰）是罪臣之女，在逃亡中和哥哥失散，之后被送入皇甫允家（李瑞镇 饰），成为了他的贴身婢女。一晃眼十五年过去，皇甫允和彩玉都已经长大，这么多年来，无论皇甫允上山习武还是进入捕盗厅的从事官，彩玉都没有离开过他的身边，两人之间的情谊似山高比海深，可是，身份和地位的巨大差异让他们永远都无法走到一起。 　　彩玉选择默默的在背后支持皇甫允，两人联手，连连破获奇案，而英俊聪慧的皇甫允，亦得到了上司赵将军的女儿兰希（蔡英仁 饰）的爱慕。彩玉正在调查追捕一位名为张城伯（金民俊 饰），哪知道张城伯竟然对巾帼不让须眉的彩玉产生了兴趣，可他并不知道的是，彩玉的真实身份，其实正是他一直在寻找的妹妹。

暂无简介

抗日战争初期，胶东某山区王官庄。地主王唯一（刘江 饰）勾结日寇，横行乡里，打死冯大娘（曲云 饰）的丈夫，逼走儿子。大女儿娟子（杨雅琴 饰）暗中参加了抗日武装，在地下党负责人姜永泉（王志刚 饰）带领下，组织了武装暴动。冯大娘在暴动中提高了思想觉悟，非但不埋怨娟子瞒着她闹革命，还把二儿子德强（万仓 饰）也送去参加八路军。王唯一被镇压后，他兄弟日寇特务王柬芝（顾岚 饰）来到村里，以小学校长身份从事特务破坏活动。区妇救会长赵星梅（袁霞 饰）被派到王官庄协助村里工作，偶然知道冯大娘竟是自己未婚夫的妈妈。由于敌人告密，鬼子突然包围了村子，赵星梅牺牲，冯大娘也被捕，敌人妄想知道八路军兵工厂埋在哪儿，冯大娘把敌人带进了地雷阵......

春夏之交，就读中国农业大学的白三梅为完成自己的农村问题调查报告，回到了位于松嫩平原的家乡——前半夜屯。因为土地肥沃得“插根筷子也能发芽”，前半夜屯和美丽富饶的松嫩大平原一起，有着“黑金子”的美誉。本片故事就从白春梅拿DV记录家乡发生的点滴事情开始。白春梅的爹白大明勤劳而淳朴。女儿三梅很小的时候，三梅妈就英年早逝，白大明一边含辛茹苦地拉扯着三个女儿，支撑着残缺的家；一边还在种地赔本的严峻现实下，毅然承包了全村近三成的土地。时过境迁。十几年后的今天，白大明在中央一号文件的沐浴下，不仅免交所有的农业赋税，还按耕种面积领取国家支付的农业直补款。白大明占了全村的“便宜”，自然有人眼红。在所有眼红的人中，挑头的就是葛二黑。葛二黑也不是坚持要回自己租给白大明的那几亩地不可，而是希望白大明能提高租金。因为合同未到期，当初租种的土地又倾注了大量的精力和财力，白大明态度明确，等合约到期，如期归还土地。僵持不下，葛二黑窜掇大家伙，将白大明告上法庭。和葛二黑一起瞎折腾的，还有务工在外突然回来的栓子。栓子和麦粒儿是一对恋人。麦粒儿极力劝阻栓子别跟着她爹瞎折腾，放下合同未到提前毁约违法不说，麦粒儿跟栓子好早就合计过，等栓子在城里站稳了脚跟，麦粒再进城找他，相厮相守。栓子娘春枝是个明白人。丈夫去世后的这些年，春枝没少得白大明照顾。栓子娘知道，白大明心里有她，她心里也有白大明。对于屯子里这次闹得沸沸扬扬的土地纠纷，村主任梁子也是伤透了脑筋。其实，梁子也不是没想办法，手头正跟白大明琢磨成立“土地银行”的事，如果真的实施起来，不仅能解决当前的土地纠纷，很有可能还是发展全村农业的一种新模式。此时，葛二黑的瞎闹稍稍消停，栓子却因为在城里致包工头重伤而被公安机关带走。栓子被带走后，前半夜屯的土地纠纷在村委会的努力下得到解决，三梅爹跟栓子娘也终于走到了一起。白大明跟村主任梁子酝酿的“土地银行”在前半夜屯实施，引起省有关领导的高度重视。由白大明全权负责土地管理耕种的“土地银行”，给全村人带来实实在在的收益。象征着土地纠纷彻底解决的新一轮土地承包大会上，“黑金子”大地上的人们对各自幸福的未来，都有着美好的憧憬。

暂无简介

暂无简介