剧情简介
该片根据维吾尔族民间故事改编，天堂讲述了一百多年前，天堂在西域大地上的一个小山村里，爱财如命的赛莱巴依老爷经常欺压当地的百姓，虐待佣人。为了给村民们出口气，年轻的艾甫其莱木，利用巴依老爷爱贪财的弱点，让他丑态百出。最后，这位巴依老爷终于意识到自己的过失，遂决定在众人面前改过自新。从此以后，他善待乡亲，乐善好施，与大家和谐地生活在一起。
天堂男人2021手机版
该片根据维吾尔族民间故事改编，天堂讲述了一百多年前，天堂在西域大地上的一个小山村里，爱财如命的赛莱巴依老爷经常欺压当地的百姓，虐待佣人。为了给村民们出口气，年轻的艾甫其莱木，利用巴依老爷爱贪财的弱点，让他丑态百出。最后，这位巴依老爷终于意识到自己的过失，遂决定在众人面前改过自新。从此以后，他善待乡亲，乐善好施，与大家和谐地生活在一起。
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.
回复 :上世纪90年代长江边的小城里，反骨叛逆的男孩赵小龙（李现 饰）遇上心爱女孩冬冬（顾璇 饰）及其好友小梅（张绮烟 饰）后，随着初心萌动，与几位好友：方圆（董博睿 饰）、大四（林晓凡 饰）、三皮（刘韦伯 饰）、武义（李宗雷 饰）走过肆意张扬的青春时光。这段青春最终因为冬冬的失踪戛然而止，十几年后，当兄弟们都面目模糊的走向中年时，只有小龙还固执地要为下落不明的冬冬讨个说法。聚会上，步入中年的四人回忆往昔，小龙却突然逼大四说出冬冬 “失踪”的真相，被尘封的“真相”，令他们永远无法抵达自己的内心……
接招合唱团
回复 :施耐德（汤姆·德·威斯布莱尔 Tom De Wispelaere 饰）是一名杀手，今天是他的生日，他答应妻子会在家和她一起准备晚餐。此时，施耐德接到了上司梅尔滕斯（吉恩·伯沃依兹 Gene Bervoets 饰）打来的电话，梅尔滕斯委托施耐德去杀一个名叫巴克斯（亚历斯·冯·华麦丹 Alex van Warmerdam 饰）的男人，对于经验丰富的施耐德来说，这是一份十分轻松的工作，如果时间来得及的话，他完成任务后甚至能够赶回家吃午餐。巴克斯住在芦苇丛环绕的湖边小屋之中，每天依靠酒精和毒品自我麻痹，这一天和往常一样，他在昏昏沉沉中醒来，向其女儿弗兰西斯卡（玛丽亚·卡拉克曼 Maria Kraakman 饰）回来拜访，虽然巴克斯和女儿之间的关系向来不能算好，但他实际上十分期待此次会面，此时巴克斯并不知道的是，除了弗兰西斯卡外，今天还会有另一位不速之客。
