簡(jiǎn)介：The screenplay follows the titular Horia, a cautious teenager living in a Romanian village, who is pining for his crush who lives on the other side of the country. After a fight with his father, Horia leaves home on his dad’s motorbike and, soon after, meets street-smart 13-year-old Stela, who is running away from her family. She may be younger than Horia, but she is definitely...

簡(jiǎn)介：影片以一個(gè)小男孩的視角描寫了東歐“二戰(zhàn)”期間的悲慘景象。小男孩的父母把他送到鄉(xiāng)下避難，但與他失去了聯(lián)系。男孩開(kāi)始在各個(gè)村莊之間流浪。因?yàn)樗暮陬^發(fā)、黑眼睛，村民認(rèn)為他是吉卜賽人，會(huì)給村子帶來(lái)不祥，以各種方式折磨他。他曾被埋在土里，只有腦袋露在外面，烏鴉將他啄得傷痕累累。他目睹人們?cè)诒┝?、墮落和無(wú)知的牢固鏈環(huán)中彼此吞噬。當(dāng)他躺在鐵軌上，讓火車從自己身上呼嘯而過(guò)，他體會(huì)到的只有飽受凌辱卻依然幸存的快樂(lè)。影片在黑白光影下呈現(xiàn)出絕美的視覺(jué)質(zhì)感，一出戰(zhàn)爭(zhēng)浮生錄在魔幻的視角下就此展開(kāi)。

簡(jiǎn)介：本片講述了二戰(zhàn)中的一個(gè)著名故事。1941年德軍集結(jié)了最精良部隊(duì)對(duì)莫斯科發(fā)動(dòng)了號(hào)稱“臺(tái)風(fēng)”的強(qiáng)大攻勢(shì)，目標(biāo)是在冬季來(lái)臨前攻下這座城市。蘇軍“潘菲洛夫步兵師”的28名士兵用僅有1門45毫米反坦克炮、幾支反坦克步槍、反坦克手榴彈和燃燒瓶阻擋了這支野心勃勃的侵略之軍，以整個(gè)連隊(duì)只幸存5人的巨大代價(jià)阻止了德軍的進(jìn)攻，保衛(wèi)了莫斯科。

簡(jiǎn)介：35歲的諾拉（帕克?波西 Parker Posey 飾）是曼哈頓的一個(gè)成功的職業(yè)女性――她是一間高級(jí)酒店的客服主管。雖然她精明能干，一眼就能看穿客人的需要，但是她卻一直未能找到自己的愛(ài)情歸宿，她在處理感情方面簡(jiǎn)直一塌糊涂。諾拉曾同酒店的客人――明星尼克發(fā)生過(guò)關(guān)系，但當(dāng)她滿懷憧憬的時(shí)候，才發(fā)現(xiàn)對(duì)方不過(guò)是為了演出而和她體驗(yàn)生活?！　≡谝粋€(gè)個(gè)“第一次約會(huì)”失敗后，心灰意冷的諾拉遇上了說(shuō)著一口蹩腳英語(yǔ)的法國(guó)人朱利安（梅爾維?珀波 Melvil Poupaud 飾）。兩人的感情迅速升溫，可是朱利安很快就要回法國(guó)了，他邀請(qǐng)諾拉和他一起“私奔”。可是感情屢受挫折的諾拉竟忽然沒(méi)了信心，拒絕了朱利安。當(dāng)朱利安回國(guó)后，諾拉才恍然大悟：自己再也沒(méi)法忘掉這個(gè)男人。于是她在好友陪伴下來(lái)到了巴黎。

簡(jiǎn)介：故事發(fā)生在捷克，諾娜（迪娜·霍瓦索瓦 Deana Horváthová 飾）是一個(gè)平凡的女人，一次偶然中，諾娜解釋了名為艾斯特（達(dá)格瑪·維斯科莫娃 Dagmar Veskrnová 飾）的護(hù)士，艾斯特告訴諾娜，她曾經(jīng)的戀人是一名黨員，在革命失敗之后，心灰意冷的他選擇了自殺?！　≈Z娜懷孕了，可是，當(dāng)她把這一喜訊告訴男友時(shí)，男友卻選擇了逃避和退縮，此時(shí)是艾斯特向諾娜伸出了援手，收留了無(wú)處可去的她。兩個(gè)女人想要生存下去第一件事情就是要想方設(shè)法的賺錢，她們想了很多損招，最后還是靠賣掉了艾斯特已故的戀人的畫作而賺了一大筆錢。就這樣，兩朵末路狂花走上了不歸路。

簡(jiǎn)介：夜間班機(jī)因旅客大都熬夜熬得雙眼通紅，故得名為紅眼班機(jī)。勒克斯大西洋酒店的高級(jí)行政人員麗莎（瑞秋?麥克亞當(dāng)斯 Rachel McAdams 飾）今天不得不搭乘她最不喜歡的紅眼班機(jī)，因?yàn)樗仨氃趨⒓油曜婺傅膯识Y后明天就趕回酒店工作?！　←惿倪\(yùn)氣還不錯(cuò)，在機(jī)場(chǎng)遇到了英俊瀟灑的杰克遜（希里安?墨菲 Cillian Murphy 飾），兩日相談甚歡。更讓麗莎驚喜的是，兩人搭乘的是同一班紅眼班機(jī)，而且還相鄰而坐。本以為一段美好的緣分就此展開(kāi)時(shí)，麗莎萬(wàn)萬(wàn)沒(méi)有想到，原本溫文爾雅的杰克遜露出了他的猙獰面目。原來(lái)杰克遜是恐怖分子的一員，他正要前往刺殺住在勒克斯大西洋酒店的安全部的高官?，F(xiàn)在，恐怖分子綁架了麗莎的父親，要求身為該酒店主管的麗莎協(xié)助杰克遜完成這一刺殺任務(wù)。在恐怖分子的要挾下，麗莎將何去何從？

簡(jiǎn)介：This apocalyptic parable carries within it a clear echo of the 1968 invasion of Czechoslovakia. This unforgiving exploration of the Czech mentality tells the tale of a troupe of wandering actors who perform a passion play in some unnamed village. Fear of some unknown danger breaks out in the village, which is cut off from the surrounding world. Stupidity, selfishness and aggressiveness then come to the surface in this society under threat. In the film's key scene, a woman is raped by the self-styled leader. Zdenuk Mahler, who would later work on Forman's examination Mozart Amadeus, worked on the script.　　The director Evald Schorm (1929-1988) was one of the most original members of the Czech New Wave. During the normalization era, Schorm spent many years unable to direct. His last film, Killing with Kindness (1988) was only made in the twilight years of Communism. During that period when he was unable to direct films, he became an outstanding stage director. He directed groundbreaking productions at the Na zábradlí Theater and Laterna Magika.

簡(jiǎn)介：1973年，居住在紐約的捷克猶太作家威利·弗雷德知道兒子女朋友的母親也曾被關(guān)押在奧斯維辛集中營(yíng)，父子倆登門拜會(huì)，威利見(jiàn)到了苦尋三十年的集中營(yíng)戀人科萊特·科恩，威利的記憶閘門再次被打開(kāi)……1943年7月，威利被轉(zhuǎn)押到奧斯維辛·比克瑙集中營(yíng)，不久比利時(shí)猶太女孩科萊特也被火車送來(lái)。威利在火車站臺(tái)上叮囑剛下車的科萊特要自稱縫紉工，這使得科萊特免遭進(jìn)毒氣室。后來(lái)科萊特被分配去檢查猶太人衣物中藏匿的貴重物品；威利則利用送取衣物之機(jī)偷偷在營(yíng)內(nèi)傳遞食品和藥物，共同的命運(yùn)使兩人很快相戀了……

簡(jiǎn)介：青年男子海克特來(lái)到墨西哥城，希望度過(guò)兩天的放縱周末。他與死黨約好拍藝術(shù)裸照，結(jié)果卻被死黨放了鴿子。海克特獨(dú)自鼓起勇氣，輾轉(zhuǎn)在不同的聲色場(chǎng)所，對(duì)所有艷遇一概說(shuō)Yes，在放浪形骸中迎來(lái)一波又一波的高潮...

簡(jiǎn)介：與Stefan Uher和Elo Havatta一樣，Eduard Grecner也是60年代斯洛伐克新浪潮電影的締造者之一。他的三部影片《一周七天》（1964）《尼絨月亮》（1965）和這部《徳拉克的回歸》都是斯洛伐克新浪潮電影的代表作。這部敘事方法獨(dú)特帶有明顯意識(shí)流風(fēng)格的黑白影片甚至間接影響到了后來(lái)法國(guó)導(dǎo)演格里耶在捷克拍攝的兩部影片《說(shuō)謊的人》和《Eden and After》?！　 special place in the development of feature films is reserved for Eduard Grecner, the creator of just one good film, Dragon Returns (Drak sa vracia, 1967), titled after the nickname of the lead character. After his initial work with Uher, Grecner made his mark as a proponent of the so-called intellectual film, the antithesis of the sociologically, or rather, socially critical film. Grecner's great role model was Alan Resnais, a young French filmmaker who sought to introduce Slovakia to the idea of film as a labyrinth in which meanings are created not by stories, but by complex configurations of dialogue, shots, and various layers of time, thus differentiating film from both literature and theater. In Dragon Returns―the story of a solitary hero who is needed by villagers living far in the mountains, but who is rejected by them at the same time because of his detachment―Grecner brought the tradition of lyricized prose to life through a whole series of formal aesthetic techniques. Alain Robbe-Grillet immediately developed this idea in the film shot in Bratislava The Man Who Lies (Slovak Muz, ktory luze; French title L'homme qui ment; 1968), and perfected it in Eden and After (Eden a potom, 1970).