In the 1990s post-communist Slovakia, former woods worker Miki takes his chances to start doing business at a local level and climb up the ladder to become the biggest mafia boss in the country.

Two teenage sisters live in an isolated country house with their aunt and they work in the production of honey. When a cousin bursts into their lives, the perfect symbiosis that is their relationship will be endangered: while Mara starts a relationship with him, Juana becomes more obsessed with her sister, and the need to destroy whatever gets in her way grows. The hive is prep...

In the 1990s post-communist Slovakia, former woods worker Miki takes his chances to start doing business at a local level and climb up the ladder to become the biggest mafia boss in the country.

Follows Irati, a young girl who will guide a group of christian and muslim warriors through a journey in an ancient mythological world where everything that has a name exists, in an attempt to recover a lost treasure.

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.

一群犯罪分子在神秘的环境下被聚集在一起，当他们简单的工作完全出现偏差时，他们不得不一起努力去揭开到底发生了什么。

　　蒂伯巴赫村即将成为一座被人遗忘的小村庄了。因为就在这天夜里，村里的大人决定集体撤离，只留孩子们自生自灭，以此作为对他们平日里胡作非为，不服管教的惩罚。然而，孩子们一觉醒来，发现往日熙熙攘攘的村庄变成了空城，不禁欢呼雀跃！没了大人的蒂伯巴赫村变成了一方等待开拓的新大陆，孩子们组成小分队四处探险。但宁静很快被打破，大个子托马斯竟然自封大王。为了击垮他的嚣张气焰，曼菲尔德和玛丽安开始招兵买马，打算背水一战。在神志不清的老兵的帮助下，两人抓获了托马斯。与此同时，大人们也回来了，孩子们干脆把大人也打入监牢……

Love at First Stream follows the stories of a streamer, a student, a breadwinner, and a heartthrob as they explore love and friendships online to escape their realities offline.

　　四名好友，洛洛、卡卡、阿丽和阿兰过着无忧无虑的生活，他们是委内瑞拉首都加拉加斯的一群富有青年。他们享乐主义的关系中充满了毒品、群交和危险游戏，但一天，阿丽被残忍杀害，这一切都戛然而止。十六年后，阿兰仍被她的死亡所困扰，他震惊地发现杀害阿丽的凶手并不是大家所认为的那个人。在一名记者的帮助下，阿兰必须在这部充满激情的心理惊悚片中面对自己过去的幽灵。@深影

圣诞节期间，斯蒂芬·斯托尔家的狗病了，她不得不返回澳大利亚的家乡。她必须处理家中的混乱局面，并放弃假期计划。