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剧情:

剧情介绍😰:王寂也是笑了。二人就这样,开怀大笑着。许久、许久。王寂深深的看了孟妙珊一眼,轻声道:“我要走了,再见了。”“再见!”孟妙珊那绝美的俏脸上,虽然满是不舍之意。但她却依然笑着与王寂分别,她不愿意让王寂,为她感到难过。王寂笑了笑,下一刻,便迈开步伐,朝着远方行去。事实上,早忍不住了。一个个的冲出来打趣刘丹道:“哎哟,万年的铁树开花了。”“NO~!是万年的铁树被人砍了,哈哈哈哈哈……你小子也有今天!”“笑死爸爸了,给人当解药,然后还被人给甩了,哈哈哈哈……”刘丹立刻一脸崩溃道:“你们耍老子玩呢!”阮随心挑眉道:“错!是本宫耍你玩!”“你到底谁啊?吴香不是你这样的啊!”记忆里吴香看起来挺温顺的,说话声音也挺温柔。🌯...[展开全部]

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其它 欧洲的某个地方 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.
720P
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.
720P
英国 / 美国 雪国列车(剧版) 第二季 讲述的是世界变成冰冻的荒芜之地过后七年,幸存的人类居住在一列永恒运转的巨型列车上,列车有1001个车厢,并区分为各个等级。有钱的精英阶层占据前头,穷人则窝居尾部,毕生遭到压迫的人们决定挺身反抗。在第一季结束时,雷顿(迪格斯饰)成为了列车的领导者,但他发现威尔福德还活着并且驶上了另一辆列车,梅兰妮冒着危险出门阻止威尔福德入侵雪国列车,一场全新的权力斗争即将浮出水面。
2K
讲述的是世界变成冰冻的荒芜之地过后七年,幸存的人类居住在一列永恒运转的巨型列车上,列车有1001个车厢,并区分为各个等级。有钱的精英阶层占据前头,穷人则窝居尾部,毕生遭到压迫的人们决定挺身反抗。在第一季结束时,雷顿(迪格斯饰)成为了列车的领导者,但他发现威尔福德还活着并且驶上了另一辆列车,梅兰妮冒着危险出门阻止威尔福德入侵雪国列车,一场全新的权力斗争即将浮出水面。
2K
中国大陆 新方世玉之决战危城   乾隆年间,方世玉随其父方德押送丝绸前往杭州参加集会,杭州当地恶霸雷老虎横行乡里,在集会上相中自崖城一路卖艺来到杭州的秋氏父女,为强抢秋氏之女秋茗,雷老虎打死秋父,路见不平的方世玉出手阻挠并反致其于死地。雷老虎之妻李小环闻讯带人寻仇,方世玉寡不敌众坠入悬崖。为不拖累方家,他和秋茗改名换姓暂留崖城制衣店,但在崖城的日子过的并不太平,以段五为首的崖城保安队掌控着崖城人的生死,不仅到处欺行霸市,还与常年盘踞崖城以张锦洪为首的悍匪互相勾结,崖城百姓深受其害。方世玉与秋茗互生情愫,并与秋茗联手将段五保安队一行人打的满地找牙,同时被百姓推举为新任保安队长打算和张锦洪做抗争…
480P
  乾隆年间,方世玉随其父方德押送丝绸前往杭州参加集会,杭州当地恶霸雷老虎横行乡里,在集会上相中自崖城一路卖艺来到杭州的秋氏父女,为强抢秋氏之女秋茗,雷老虎打死秋父,路见不平的方世玉出手阻挠并反致其于死地。雷老虎之妻李小环闻讯带人寻仇,方世玉寡不敌众坠入悬崖。为不拖累方家,他和秋茗改名换姓暂留崖城制衣店,但在崖城的日子过的并不太平,以段五为首的崖城保安队掌控着崖城人的生死,不仅到处欺行霸市,还与常年盘踞崖城以张锦洪为首的悍匪互相勾结,崖城百姓深受其害。方世玉与秋茗互生情愫,并与秋茗联手将段五保安队一行人打的满地找牙,同时被百姓推举为新任保安队长打算和张锦洪做抗争…
480P
美国 天崩地裂 上 哈利·道尔顿博士(皮尔斯·布鲁斯南 Pierce Brosnan 饰)是美国地质勘探中心的一名火山学专家,这次他被派到但丁峰上的一个小城镇视察,而小城镇所在的但丁峰正是华盛顿附近的一座休眠火山。哈利来到镇上,恰逢市长蕾切尔(琳达·汉密尔顿 Linda Hamilton 饰)在主持庆祝活动,因为小镇刚刚获得了全美最佳居住环境第二名的大奖。蕾切尔与她的两个孩子带哈利四处参观,路过温泉湖畔,哈利注意到湖水酸度过高,并发现了两具煮熟的浮尸。哈利顿感情况不妙,火山极有可能喷发,并建议蕾切尔发布预警,然而与哈利同行的上司保罗却认为他是反应过度,并打算在一周的勘探任务完成后打道回府,镇委会也出于种种利益目的,拒绝发布预警。然而就在一天夜里,镇上的水突然被硫磺污染,而这正是火山喷发的前兆,蕾切尔立即启动了全民撤离计划,然而她的母亲却在山腰上拒绝撤离。就在此时,火山已...
2K
哈利·道尔顿博士(皮尔斯·布鲁斯南 Pierce Brosnan 饰)是美国地质勘探中心的一名火山学专家,这次他被派到但丁峰上的一个小城镇视察,而小城镇所在的但丁峰正是华盛顿附近的一座休眠火山。哈利来到镇上,恰逢市长蕾切尔(琳达·汉密尔顿 Linda Hamilton 饰)在主持庆祝活动,因为小镇刚刚获得了全美最佳居住环境第二名的大奖。蕾切尔与她的两个孩子带哈利四处参观,路过温泉湖畔,哈利注意到湖水酸度过高,并发现了两具煮熟的浮尸。哈利顿感情况不妙,火山极有可能喷发,并建议蕾切尔发布预警,然而与哈利同行的上司保罗却认为他是反应过度,并打算在一周的勘探任务完成后打道回府,镇委会也出于种种利益目的,拒绝发布预警。然而就在一天夜里,镇上的水突然被硫磺污染,而这正是火山喷发的前兆,蕾切尔立即启动了全民撤离计划,然而她的母亲却在山腰上拒绝撤离。就在此时,火山已...
2K
日本 砂糖苹果童话故事 银砂糖师与黑妖精 这是在砂糖苹果指引下相遇的少女与妖精,用他们的梦想和爱情谱写的美好童话故事。 在这个人类奴役妖精的世界里,人们相信砂糖点心会带来好运。 因此在这里,制作神圣砂糖点心的特殊手艺人被称为“银砂糖师”。 在...
480P
这是在砂糖苹果指引下相遇的少女与妖精,用他们的梦想和爱情谱写的美好童话故事。 在这个人类奴役妖精的世界里,人们相信砂糖点心会带来好运。 因此在这里,制作神圣砂糖点心的特殊手艺人被称为“银砂糖师”。 在...
480P
中国大陆 升堂见母 暂无简介
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泰国 与爱同居 当直男遇上GAY会发生什么样的故事?Type是一名大一新生,阳光帅气,朋友众多,但他不喜欢gay!而Tharn是传说中的完美室友,但Tharn偏偏是gay!Type和Tharn间因此而产生了一系列啼笑...
270P
当直男遇上GAY会发生什么样的故事?Type是一名大一新生,阳光帅气,朋友众多,但他不喜欢gay!而Tharn是传说中的完美室友,但Tharn偏偏是gay!Type和Tharn间因此而产生了一系列啼笑...
270P
中国大陆 绮靡 夫人离婚后督军一夜白头
蓝光
中国大陆 开错网约车嫁对郎 暂无简介
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