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剧情:

剧情介绍💞:众人抬头,疑惑的看着赵放,便是有人开口问道:“神子大人,你这么着急将我们聚集过来可是有何事?师兄弟们可都准备庆祝了,斩杀了魔族总指挥,这可是天大的功劳,想必到时候宗门必然也会有赏赐!”“就是,就是,神子大人,你有什么快说吧,咱们还等着庆祝了!”归元仙宗弟子,毕竟不是正规的军人,能够列队就已经算是极为难得。东大虎摇头晃脑,道:“还恼羞成怒了,真没想到,老古身材这么修长婀娜,这大尾巴确实够线条优美的,当然,我是以蛇族的眼光来看。”“记住,我这是道体,懂?!”老古怒道,一边忍受痛苦在那里翻滚,一边对着两个不懂史前种族图谱的家伙普及知识。🕧...[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.
1080P
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.
1080P
中国台湾 田螺艳鬼
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澳大利亚 / 美国 了不起的盖茨比 1922年的春天,作家尼克(托比•马奎尔 Tobey Maguire 饰)满怀希望离开家乡,随淘金热潮来到纽约这个新兴的城市,虽然这里爵士乐流行,股票飞涨,但是贫富两极分化,人们沉沦在纸醉金迷中。尼克为了追寻美国梦,放弃写作而进入证券市场,并搬入纽约附近的海湾居住,成为了神秘富豪盖茨比(莱昂纳多•迪卡普里奥 Leonardo DiCaprio 饰)的邻居。而海湾的对岸住着尼克的表妹黛西(凯瑞•穆里根 Carey Mulligan 饰)和她的贵族丈夫汤姆(乔尔•埃哲顿 Joel Edgerton 饰),尼克不仅被邀请去赴宴,之后汤姆还带着他去找情妇寻欢,尼克渐渐迷失在这个充满魅力,以及富豪编制的假象、爱与谎言的世界中。 但是只有盖茨比最特别,他是唯一让尼克感到在这个迷失城市里充满希望的人。尼克被邀请参加了盖茨比豪宅中的盛宴,还发现盖茨比心中的秘密,原来他一直深爱着黛西,即使她没等到他战后归来,转而嫁给富豪汤姆,盖茨比一直深信他们的爱情矢志不渝。尼克作为盖茨比与黛西爱情的见证者,终于在盖茨比被谋杀之后,看清了这个上流社会的虚情寡义,决心远离喧嚣、冷漠、虚假的大都市,黯然回到故乡……
蓝光
1922年的春天,作家尼克(托比•马奎尔 Tobey Maguire 饰)满怀希望离开家乡,随淘金热潮来到纽约这个新兴的城市,虽然这里爵士乐流行,股票飞涨,但是贫富两极分化,人们沉沦在纸醉金迷中。尼克为了追寻美国梦,放弃写作而进入证券市场,并搬入纽约附近的海湾居住,成为了神秘富豪盖茨比(莱昂纳多•迪卡普里奥 Leonardo DiCaprio 饰)的邻居。而海湾的对岸住着尼克的表妹黛西(凯瑞•穆里根 Carey Mulligan 饰)和她的贵族丈夫汤姆(乔尔•埃哲顿 Joel Edgerton 饰),尼克不仅被邀请去赴宴,之后汤姆还带着他去找情妇寻欢,尼克渐渐迷失在这个充满魅力,以及富豪编制的假象、爱与谎言的世界中。 但是只有盖茨比最特别,他是唯一让尼克感到在这个迷失城市里充满希望的人。尼克被邀请参加了盖茨比豪宅中的盛宴,还发现盖茨比心中的秘密,原来他一直深爱着黛西,即使她没等到他战后归来,转而嫁给富豪汤姆,盖茨比一直深信他们的爱情矢志不渝。尼克作为盖茨比与黛西爱情的见证者,终于在盖茨比被谋杀之后,看清了这个上流社会的虚情寡义,决心远离喧嚣、冷漠、虚假的大都市,黯然回到故乡……
蓝光
德国 当我们做梦时   故事发生在东德刚刚解体的这个节骨眼上。里科(朱利斯•尼兹舒寇夫 Julius Nitschkoff 饰)、丹尼尔(梅林•罗斯 Merlin Rose 饰)、保罗(Frederic Haselon 饰)和马克(乔尔•巴斯曼Joel Basman 饰)是成长在这个动荡的特殊时刻的四位青年。他们用他们各自特殊的方式来疯狂的挥霍青春。在经历的一系列疯狂的体验之后,四人合伙开了一家迪斯科舞厅,哪知道没开多久便被新纳粹青少年给霸占了。与此同时,里科依然保留着他想要成为拳击手的梦想,丹尼尔则对漂亮的莱比锡(露比•欧菲Ruby O. Fee 饰)一往情深。当他们的命运被时代车轮裹挟前进时,每个人会走上一条怎样的道路呢?
270P
  故事发生在东德刚刚解体的这个节骨眼上。里科(朱利斯•尼兹舒寇夫 Julius Nitschkoff 饰)、丹尼尔(梅林•罗斯 Merlin Rose 饰)、保罗(Frederic Haselon 饰)和马克(乔尔•巴斯曼Joel Basman 饰)是成长在这个动荡的特殊时刻的四位青年。他们用他们各自特殊的方式来疯狂的挥霍青春。在经历的一系列疯狂的体验之后,四人合伙开了一家迪斯科舞厅,哪知道没开多久便被新纳粹青少年给霸占了。与此同时,里科依然保留着他想要成为拳击手的梦想,丹尼尔则对漂亮的莱比锡(露比•欧菲Ruby O. Fee 饰)一往情深。当他们的命运被时代车轮裹挟前进时,每个人会走上一条怎样的道路呢?
270P
华语 最好的夏天 性格活泼,爱好文学的高一女生陈澄,阴差阳错加入学校无人问津的文学社团,认识了古灵精怪的小舞和脾气大于本事的叶洛,在准备重振旗鼓之时,学校准备让文学社社报《絮语报》停刊,教导主任贾老师认为报纸已经面临淘汰,《絮语报》没有再办下去的必要。陈澄、叶洛与小舞三人历经挫折,为了学校保送名额而放弃文学社的前任社长张柏熙默默的在背后给予帮助,成功做出了《絮语报》的第一百期纪念刊,得到了全校师生的认同,絮语报虽然停刊,但是报纸和梦想在所有人心里生根发芽。
高清
性格活泼,爱好文学的高一女生陈澄,阴差阳错加入学校无人问津的文学社团,认识了古灵精怪的小舞和脾气大于本事的叶洛,在准备重振旗鼓之时,学校准备让文学社社报《絮语报》停刊,教导主任贾老师认为报纸已经面临淘汰,《絮语报》没有再办下去的必要。陈澄、叶洛与小舞三人历经挫折,为了学校保送名额而放弃文学社的前任社长张柏熙默默的在背后给予帮助,成功做出了《絮语报》的第一百期纪念刊,得到了全校师生的认同,絮语报虽然停刊,但是报纸和梦想在所有人心里生根发芽。
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中国大陆 中国的木偶艺术 介绍中国木偶戏中的布袋布偶和杖头木偶两种   其中有杨胜,陈南田表演的闽南布袋木偶戏《蒋干盗书》、《路打不平》(《雷万春打虎》)两段戏
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介绍中国木偶戏中的布袋布偶和杖头木偶两种   其中有杨胜,陈南田表演的闽南布袋木偶戏《蒋干盗书》、《路打不平》(《雷万春打虎》)两段戏
720P
华语 天机之九幽业火 盛世胤朝,都城大邺城中出现多起鬼火杀人案,耸人听闻,神鬼莫测。来自天照府的破案天才时浩轩与千年城隍庙的奇才玄坤,两个命格奇绝、天赋异禀的少年为参透玄机,缉拿真凶而身陷水火。二人拨开杀气与血雾,在使二十年前“业火灭门案”浮出水面的同时,一卷“业火五灾”的秘密卷宗也揭开了他们的身世之谜。环环相扣,案案相承,云诡波谲的都城之中,一系列精心谋划的阴谋迷局,随着无限膨胀的仇恨与野心在时空中徐徐拉开帷幕。
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盛世胤朝,都城大邺城中出现多起鬼火杀人案,耸人听闻,神鬼莫测。来自天照府的破案天才时浩轩与千年城隍庙的奇才玄坤,两个命格奇绝、天赋异禀的少年为参透玄机,缉拿真凶而身陷水火。二人拨开杀气与血雾,在使二十年前“业火灭门案”浮出水面的同时,一卷“业火五灾”的秘密卷宗也揭开了他们的身世之谜。环环相扣,案案相承,云诡波谲的都城之中,一系列精心谋划的阴谋迷局,随着无限膨胀的仇恨与野心在时空中徐徐拉开帷幕。
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中国大陆 婚后诱他失控 暂无简介
270P
暂无简介
270P