在这片名为灵域的天地间，亚洲有一片赤澜大陆，亚洲大陆上的武者和灵器有着明确的等级划分，家族，宗派势力也有着严谨的阶级层次。在最高阶级玄天盟的带领下，人族武者和邪族千百年来一直在幽冥战场上进行着残酷的战斗。一只噬魂兽从幽冥战场的裂缝中逃入了人族居住的赤澜大陆，残忍屠杀了冯家镇和高家镇。凌家镇的少年秦烈，和从小一起长大的凌语诗，高宇，一起被命令协助玄天盟讨伐噬魂兽。秦烈没有想到，自己从此卷进了一场巨大的阴谋，为了保护朋友和挽救心爱的人，隐藏在他血脉中的力量在慢慢苏醒。
佩班娜塔
回复 :一次偶然中，25岁的香野可菜（深田恭子 饰）结识了名叫濑尾凉介（及川光博 饰）的男子，两人之间很快就产生了真挚的感情。就在可菜和凉介的感情急速升温之时，可菜的母亲梓（田中好子 饰）从医生处得到了噩耗——年纪轻轻的可菜竟然患上了阿尔茨海默氏症，这一病症的最大症状就是失忆，并且无法治愈，梓决定将这一消息瞒着可菜和凉介。病发的可菜被送入了医院，之后，凉介决定同可菜结婚。再也无法隐瞒病情的梓将所有的一切都告诉了凉介，但这却并没有动摇凉介对可菜的爱意，就这样，凉介和可菜结婚了。婚后，可菜的病情不断的加重，可她本人依旧被蒙在鼓里。纸终于无法再包住火焰，凉介向可菜道明的真相，精神和肉体上都遭受了沉重打击的可菜陷入了深深的痛苦中无法自拔。
郑中基
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.
李寿全
回复 :都说忠诚和信任是维持婚姻的重要纽带，但卢德福（波莱克·波利夫卡 Bolek Polívka 饰）觉得这简直是一派胡言，在他的婚姻观里，不忠和出轨不仅能够增加婚姻里的趣味，更能给妻子制造危机感，令两人的关系因危机感而充满情趣。不知是巧合还是幸运，贯彻了这一套“歪理”的卢德 福自己的婚姻一直以来都幸福美满，这更让他坚信自己是正确的。卢德福的女儿爱丽丝（彼得拉·赫雷比科娃 Petra Hrebícková 饰）即将和名叫安德鲁（吉日·马察科 Jirí Machácek 饰）的男人步入婚姻的殿堂，让卢德福感到失望的是，安德鲁竟然打算当一个常人眼中的“模范丈夫”，心急如焚的卢德福决定从自己的女儿下手，希望爱丽丝能够向自己学习，学习他那一套维持婚姻之道。
