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求生一加一 第一季

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半音

《半音》講述了腦癱兒童“傳奇”的 成長歷程，是一部真正意義上的勵志 電影。

手指

80年代，香港上市公司加利集團幾年間從崛起到清盤，主席程一言從股民偶像變成過街老鼠。廉政公署全員跨國追查，百億市值蒸發(fā)、十五年調(diào)查、兩億訴訟費、整個上流社會、數(shù)宗兇殺案，揭開英殖時代商業(yè)舞臺黑暗一幕。

巴瑞第二季

　　為了來之不易的新?lián)磹?，巴瑞迫切希望逃離自己的過往，全身心投入到表演當(dāng)中。然而職業(yè)殺手不是想不干就能不干的，而且訴諸暴力似乎并不只是外力作用的結(jié)果——一開始到底是什么讓巴瑞拿起了屠刀？

暴風(fēng)雨的幻象

A woman gets an opportunity to save the life of a 12-year old boy who witnessed a death during a thunderstorm which happened 25 years ago, by getting connected through the television set during a similar storm in the present

歐洲的某個地方

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.

老娘我最辣

寡婦仁海多年來靠著火辣身材和 絕妙的挑逗技巧，在小鎮(zhèn)上受到所有男性的追捧寵愛，過著如公主般的生活。直到一名烏克蘭白皙美女的出現(xiàn)，前凸後翹的高挑身材令鎮(zhèn)上所有男人為之瘋狂，仁海才驚覺自己正面臨前所未有的強力挑戰(zhàn)。仁海必須使出渾身解數(shù)，將原本屬於她的男人們重新贏回來，一場烏克蘭與韓國之間波濤洶湧的性感大戰(zhàn)即將爆發(fā)！

哈啰義烏

因遠在阿富汗的爺爺生病，和平（法赫德 飾）的爸爸委托生意伙伴勝利（李嘉偉 飾）的父母樓大明（趙衛(wèi)東 飾）、陳麗（黑雯麗 飾）送和平上飛機。在等待飛機的過程中，他們突然發(fā)現(xiàn)和平不見了。原來，和平怕離開義烏后，就不能再回到中國特別是義烏了，就躲了起來。后來，他被勝利找到了。聽完他的心思后，勝利決定幫助他完成心愿，就偷偷將他帶回自己的家，藏在自己睡的房內(nèi)。

櫻桃新滋味

在 1990 年的洛杉磯，一位有抱負的電影導(dǎo)演在這個陽光燦爛卻充滿陰暗的世界里踏上了一段影響心靈的超自然復(fù)仇之旅。

生化危機（普通話）

故事發(fā)生在一個秘密的科學(xué)實驗室里，超級計算機“紅色女王”失去控制，成為人類的巨大威脅；原本在里面工作的科學(xué)家為某種病毒侵襲，死而復(fù)生變?yōu)榻┦妊幕钏廊苏髲B為血腥恐怖的氣氛籠罩，眼看病毒即將爆發(fā)，危機不可避免，整個世界將變成地獄，全體人類將成為僵尸。一個特別任務(wù)小組開始了拯救行動。

偏偏入硯懷（惹我心尖顫）

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看著我2024

　　父親決定獻身上帝，入寺為僧，性格內(nèi)向的小克 (Sandro) 生活一下子失去了支撐與保障。父親出家，母親在國外工作，父母的拋棄令這個年輕人踏上了探索自我的旅程，不僅結(jié)交了與極右翼暗通款曲的激進分子拉沙，也不斷為自己性方面的困惑尋求答案?！　讨巍の鞴R利澤這部處女作頗為敏銳，探討了觀察者和受觀察者之間的界限何其微妙。鑒于格魯吉亞社會仍首鼠兩端，一端為宗教保守與民族主義所裹挾，另一端則對獨立與現(xiàn)代化充滿渴望，因而影片提出了「格魯吉亞社會在后蘇聯(lián)時期的當(dāng)下該何去何從」的問題。