Three X drag Queens put all their savings into buying an apartment block as an investment. But the business venture turns into a disaster when a dead body is found is in the building. The haunting from the mad ghost leaves all the residents terrified, and they understandably want to leave. The threesome have to find the way to persuade their residents not to leave, to save the day, and their money!

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.

　　导演IG @poj_arnon

暂无剧情

An American novelist living for a time in London converses with his wife, his mistress, and other female characters he may have dreamed up.

从近处看，米克尔似乎在欲望的笼罩中四处走动：找到他失踪的猪，获得生物学证明，在菜子沙漠中打破孤独。 但是，更进一步，米克尔似乎反而吸引了保罗。

故事发生在1937年西班牙内战时期，在纷飞的战火之中，一位来自美国的名叫罗伯特（加里·库柏 Gary Cooper 饰）的男人，他的身影时常活跃在前线，带领着西班牙人民抗击当地法西斯的残暴统治。他们炸火车打巷战，打得敌人节节败退。

暂无简介

未来世界，为了赢得星际战争，政府从新生儿中严格挑选一批人，从小就进行杀人训练，这些人没有家庭、感情，他们眼中只有杀戮，称为兵人。特德（库尔特?拉塞尔 Kurt Russell 饰）就是这群人中的佼佼者，他经历了数场星际大战，依然屹立不倒。这次政府采用新的基因技术，让婴儿在母体中就接受战争基因的改造，制造了一批改良后的兵人。 　　为了测试效果，特德和另外两名伙伴被挑选和新兵人凯恩（贾森?斯科特?李 Jason Scott Lee 饰）进行一场较量，结果两名伙伴被打死，而特德因为昏迷被误认为死亡而逃过一劫。他和另外两个伙伴的尸体被扔到了一个垃圾星球。特德在那里遇到了被遗弃的平民，他麻木的心灵在这里滋生了友谊和爱情。当他准备在这里和心爱的女人幸福过活时，政府将这里当成了新兵人的训练场。新兵人们在这里的任务就是杀光所有生物。为心爱的人和伙伴们，特德毅然出战！

　　A renowned painter who rose from an impoverished past, must confront his once highly abusive addict father, La’Ron, after 15 years of distance between them. Although La’Ron claims to have been reformed by his new relationship with Christ, their reconnection stirs up buried trauma, launching Tarrell into incendiary anxiety, and sending destructive shockwaves through the family. Tarrell must decide if he’s able to forgive, or if he will cut off his father forever.