暂无简介
保加利亚史上最为卖座的本土影片 近年来保加利亚电影如《浅黑色》、《保加利亚天空下》相继在莫斯科与东京电影节上摘得大奖，而在保加利亚国内，人们也终于看到了一部能够与好莱坞媲美的喜剧作品。由迪米塔·米托夫斯基执导的《伦敦任务》(Mission:London)4月16日在当地上映，十天售出14万票打破了《阿凡达》的记录，迄今总共动员35万名观众使之成为了保加利亚史上最为卖座的本土影片。 影片由阿莱克·波波夫根据自己的小说原著编写剧本。故事发生在伦敦的保加利亚大使馆，这里的官员们闲来无事，只做些用外交特权与当地的保加利亚侨民交换香烟和酒精的勾当。然而2007年加入欧盟之后，形势大变，总统夫人希望邀请伊丽莎白女王参加庆祝晚宴，于是新的大使瓦拉丁走马上任。 这部背景设置在伦敦的影片背景充满了David Bowie、Blur以及the Sex Pistols的音乐，可谓迄今最为具有国际相的保加利亚影片。演员中有着盖·里奇旗下的阿兰·福德、拉尔夫·布朗以及出演过瑞典影片《龙纹身的女孩》系列的格奥尔基·斯塔耶科夫。后者在片中扮演的几乎就是现实中的自己——一位保加利亚版的罗伯特·德尼罗。 片中，来自保加利亚的众多公众人物包括音乐人和政治家纷纷登场，然而导演米托夫斯基同编剧波波夫并没有让影片沦为简单的恶搞，充满智慧的台词和紧凑的节奏贯穿始终，令影片能够成为一部跨越国界的喜剧。此外，无论从摄影、剪辑等技术层面，投入150万欧元的《伦敦任务》都是迄今保加利亚最为成熟的电影作品，在国内备受好评的它也被认为是保加利亚今年报名奥斯卡外语片的热门候选之一。
蓝大钓（猪哥亮 饰）是一名拳师，经营着一间医馆，凭借着祖传秘方吊膏成为了当代的神医圣手。蓝小龙（蓝正龙 饰）是蓝大钓的儿子，一身武艺都是父亲亲手传授，而他学习的是拦截手，充满了正义感的蓝小龙平日里便会使用这招拦截手，窃得扒手偷来的赃物劫富济贫。黑熊（吴篷奉 饰）是蓝家的世仇，蓝小龙的梦想就是有朝一日将他变为手下败将。 蓝大钓有一位交往多时的女友心怡（谢沛恩 饰），心怡学习的是法律专业，一心希望能够出国深造。为了完成女友的梦想，蓝小龙竟然开口向黑熊借贷，之后又为黑熊顶替了杀人的罪行锒铛入狱。
据说在1928年，匈牙利导演贝拉·奥特（艾利·罗素 Eli Roth 饰）曾根据一起发生在罗马尼亚的真实事件拍摄过一部恐怖片。但是在拍摄过程中不断出现离奇诡异的事件，奥特最终失踪，影片也从未完成，更没有人看过其中哪怕很少的一部分。好莱坞导演玛库斯·里德（Reshad Strik 饰）多年来不断做着同样的梦，梦中永远是贝拉·奥特和那部传奇影片的场景。他按捺不住创作的欲望，决定带着摄制组来到当年的摄影棚重新制作这部影片。然而从筹划之初便状况不断，有人因此受伤，当年遗失的画面更交叠溶入玛库斯新拍的样片画面中。恐怖的气氛在摄制组内蔓延，玛库斯已经无法回头…… 本片翻拍自日本导演中田秀夫的成名作《女优灵》。
故事由一家神秘的杂货店串联起来，这看似普通的杂货店里所售卖的东西都是一些奇怪的杂货，店里有一个妖娆美艳的老板娘和一只慵懒而怪异的猫，没人知道她的年龄，传说她有永远20岁的容颜。三个不同身份的年轻人分别遇到了人生中的困惑和麻烦走投无路时，而分别走进了这家杂货店，得到老板娘的帮助拥有了神奇的能力，从而改变了命运，但在突然借助外力改变命运的同时却发生了一连串让人啼笑皆非的故事……… 影片分为三个部分线索分别叙述，在结构和情节安排上紧凑场景和人物比较多，节奏明快，主题阳光向上积极乐观
在里乔内的海滩度假时，一群少男少女成为朋友，他们相互帮助处理恋爱关系和夏季暗恋。
"还以为是古董呢，原来是宝物？！” 挖地做生意的盗墓贼来了！ 姜东九（李帝勋饰）是天生的盗墓贼，他只要闻到土味就能找到宝物。 他遇到了自称是韩国印第安纳·琼斯的古墓壁画盗墓专家琼斯博士（赵宇镇饰）、传说中的铁锹达人（林元熙饰），组建了梦幻般的团队，培养了危险又刺激的盗墓版图。 另外，了解他才能的美术界精英馆长尹室长（申惠善） 向姜东九提议了既有魅力又危险的交易...！ 黃嶺寺金铜佛像，高句丽古墓壁画，还有首尔江南中心宣陵！ 越卖越大的盗墓世界！ 不同级别的铲子开始了！
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.
影片讲述关于1930年代美国加州劳工运动。
一位心思细腻钟爱音乐的小提琴手--李爱芳，一位患有白血症的漂亮钢琴手--林纯纯，他们从相识、相知、到相爱，面对结婚与死亡的感人故事。