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1767年，人们在法国格夫丹地区的森林里发现了恐怖的杀人怪兽。据说，它是一种类似狼和狗的凶猛怪兽，被袭击的人都被咬破了颈部血管。在当地寻找绷带的外省医生皮埃尔到最近出现的人命案现场勘查了情况，他对和尸体近在咫尺的却完好无损的捕兽陷阱感到十分困惑。对于怪兽，教堂里牧师的解释是，那是一只恶魔附体的怪兽，是来惩罚人们的罪恶的，人们必须虔诚祷告来赎罪。他甚至暗示村中的异教徒、制作亚麻布拥有自己土地的外乡人沙斯黛尔一家就是撒旦的替身。 消息传到凡尔赛宫，已经开始相信科学、摒除封建迷信的国王路易十五派出了火枪手，要求尽快击毙森林里的“动物”。随着弑人事件的不断发生，医生在死者身上的发现有了惊人的进展。他在一个女死者的颈部伤口中取出了被折断的铁器的残片，而动物是不可能用这样的工具来杀人的，他认为，所谓的森林怪兽不过是披着狼皮的人罢了。他把自己的发现和结论告诉御史，但火枪手并不听信这一套，他脑子里想的只是杀死一只狼什么的动物，然后回宫请赏。 与此同时，对于异教徒沙斯黛尔一家的迫害也达到了前所未有的程度。在牧师母亲的恶意教唆下，村民把愤怒的火焰喷向了沙斯黛尔一家。沙斯黛尔先生将因使用巫术而被绞死，在医生皮埃尔的斡旋下才逃得性命。而皮埃尔的发现也把他怀疑的对象指向了当地的贵族、侯爵先生，但最后当他在沙斯黛尔家发现身披狼皮、企图杀死沙斯黛尔女儿的人时，他才明白，怪兽竟是伯爵莫兰齐斯。他开枪击毙了这个“怪兽”。 官方给伯爵的死因是意外死亡，火枪手因射杀了一只狼回宫得赏，沙斯黛尔先生因丧妻而疯癫起来，他的女儿和医生皮埃尔结为夫妻。
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Alonso is a skater who goes across Spain with the skate as his only means of transport. The road will force him to cross with characters that will change his life and they will discover the reason why Alonso does this curious and strange trip.
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上班族德里克一直对橄榄球情有独钟，当他得知美式橄榄球正在英国崭露头角时兴奋之情溢于言表，他甚至想去五六十公里外的曼彻斯特参加球员选拔。但女友对比颇为不理解，认定这是德里克背弃二人共同梦想的自私行为。不过，这并没有影响德里克对橄榄球的执着，为了能打橄榄球他开始奔波忙碌。不能参加其他球队，他就自己组建球队。这种运动精神吸引了很多同样热爱这项运动的朋友们加入。在德里克的带领下，他们招揽球员，购置服装，组建拉拉队，铁路捍卫者队诞生了。为了球队的发展，他们想尽一切办法去请专业的美国教练。教练詹姆斯·杜邦的加入让这支球队活力满满。但随着人员增多，球队开销也在不断增加，德里克因此背上了债务。正在踌躇苦恼之际，德里克心生一计，举办橄榄球比赛，收取门票。虽然门票计划意外泡汤，但德里克实现了自己的橄榄球之梦。
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自从年轻时受到姨妈的性创伤后，比利就一直把花生酱和性联系在一起。在他最近的约会对象离开后，他遇到了普丽西拉，一个同样古怪的女人。当两个陌生人决定分享他们不寻常的性爱经历时，比利开始意识到她可能终于找到了他梦寐以求的女孩。但他们初露头角的恋情能经受住最终的性考验吗？
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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.
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凯瑞（萨拉·杰西卡·帕克 Sarah Jessica Parker 饰）和夏洛特（克里斯汀·戴维斯 Kristin Davis 饰）的两位同性好友，安东尼（马里奥·坎通 Mario Cantone 饰）与斯坦福（威利·加森 Willie Garson 饰）终于成婚，而凯瑞与“大先生”（克里斯·诺斯 Chris North 饰）婚后却不满生活日渐平淡，二人矛盾渐生。全职妈妈夏洛特日夜担心丈夫哈里（伊万·汉德勒 Evan Handler 饰）会与青春洋溢的爱尔兰保姆艾琳（爱丽丝·伊芙 Alice Eve 饰）出轨。律师米兰达（辛西娅·尼克松 Cynthia Nixon 饰）不满老板对女性的歧视，愤而辞职。就在此时，萨曼莎（金·凯特罗尔 Kim Cattrall 饰）应阿联酋酋长之邀，带领三人出游中东的阿布扎比。在香料集市上，凯瑞重逢多年前的旧爱艾登（约...
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前东德最好的一部超现实主义幻想剧！ this is one of the most amazing looking,surreal films of all time and i only recently acquired it on video.it was just as good after fond childhood memories of it.highly recommended,with great special effects,and stunning set design,and vivid colour and cinematography.buy with confidence! This is as you remember watching it as a child. Lifelike, overtly coloured and full of magical splendor, terrifying nasties and surreal characters. In short, do not shy away from this opportunity to show a Christmas Special to your children in favour of the usual fare from Disney and co. Rather, pop a fresh batch of pop corn, get first dibs on the comfy chair and opt for what was arguably one of the highlights of East German children's programming.
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离开部队之后，以利亚凯恩再次回到他的特种部队。由Marcus米切尔招募回美国中央情报局。凯恩的技能是远程狙击，马库斯的承诺，中情局将信息提供给凯恩并为之组建他的小团队。凯恩得到一系列高难度错杀任务，中央情报局的一般特工不能完成。马库斯承诺配合凯恩，引导目标他进入狙杀范围。并将目标的身份透露给凯恩团队。凯恩与其它两个受过训练的新兵组成行动小组，完成任务。最终驱动凯恩的不只是生意，也有个人的原因。