介绍：A couple of Italo-American journalists go missing during their work assignment in Romania.

介绍：本部战争片是对伟大的卫国战争（1941-1945）胜利七十周年的献礼它围绕着主人公帕维尔•祖博夫的故事展开，他是一名学校老师，作一个老师是他的人生使命。帕维尔所在的村庄被法西斯占领。他相信着基本的人类价值，比如爱情和家庭。然而，一系列事件导致的变化改变了他对生活的认知，使他回到现实。在战争中，敌人逐步显露出其真面目。帕维尔必须做出不易的选择：是生存下去并适应新政权，还是为他的家人，爱情，国土，理想和信念而战。

介绍：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.

介绍：这个一群可爱的蔬菜们的故事，开始于一次意外事ddd在一个月光皎洁的夜晚，一群驾驶着大篷车旅行的“蔬菜”们在大道上一边前进，一边快乐的唱歌。但是他们不小心与一群由“衣服”为主力组成的小团体发生了争执，于是引发了一场战斗。在和这伙晒衣绳、拳击短裤和豪猪等的作战中，“蔬菜”们的大蓬车出了事故，于是他们只好来到一个破旧萧条的海鲜市场寻求帮助。在这里他们遇到了一群号称“什么事也懒的做”的海盗。在等待拖车帮忙的时候，他们与这群海盗坐在一起闲聊。海盗们讲了一个关于主人公芦笋约拿的故事：故事发生在很久以前的另一个地方。主人公芦笋约拿是一个信使。不过他可不是一个普通的投递员，他是上帝的信使。约拿很喜欢自己的工作，一天，他接到一个任务，要他把信送给古亚述国尼尼微城的人们。约拿不喜欢尼尼微人，因为他们不仅喜欢撒谎、偷窃，而且还喜欢用鱼砸人。于是，约拿不仅不着急去完成任务，却坐上了一家相反方向行驶的船。船的主人正是这群“什么事也懒的做”的海盗。在船上，他还遇到了一个地毯“商人”，毛虫卡里尔。不幸的是，约拿被一只巨大的鲸鱼吞到了肚子里面。在鲸鱼的肚子里，又发生了一段惊险、刺激却又好玩的故事