剧情简介
出品单位: 北京申开影视文化有限公司本片以花园集村的一名村干部张来旺开展农村现代远程教育的故事为主线，卓别全方位、卓别多层面、立体式展示了远程教育由群众不接受到离不开的演变过程……
卓别林
出品单位: 北京申开影视文化有限公司本片以花园集村的一名村干部张来旺开展农村现代远程教育的故事为主线，卓别全方位、卓别多层面、立体式展示了远程教育由群众不接受到离不开的演变过程……
廖书凡
回复 :Two young lovers rob their way across the southland, posting their exploits to social media, and gaining fame and followers as a result.
秀兰玛雅
回复 :齐尔布（萨尔曼·汗 Salman Khan 饰）是警界里一朵奇葩。正义感爆棚的他常常单枪匹马的闯入犯罪现场，大展身手将犯罪分子们捉拿归案。虽然齐尔布是市民们眼中捍卫和平的保护神，但在警长切迪的眼中，这个不按常理出牌的下属显然是警局里的超级不安定因素。不仅如此，齐尔布的存在亦给切迪贪污受贿的行径带来了不少阻挠。一次偶然中，齐尔布邂逅了名为伊柔塔（索娜什·辛哈 Sonakshi Sinha 饰）的美丽女孩，瞬间坠入了情网，很快两人就走到了一起。齐尔布有一个不成器的弟弟马奇，某日，被马奇虐待的工人找到了齐尔布，向他控诉马奇的罪行，愤怒的齐尔布当街胖揍了弟弟一顿，没想到却因此被一直想要解决他的切迪抓住了把柄。
雨婷
回复 :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.
