歐洲的某個地方

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 in…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.詳情

• 我們現在長大了

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• 惡魔來到堪薩斯城

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• 冷漠怪

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• 逃逸追蹤

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• 海鷗來過的房間

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• 上空女孩

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• 呼吸(2009)

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• 雲霧女孩

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• 如果我能冬眠

  Taivanbat•Alexandar,Batmandakh•Batchuluun,Tuguldur•Batsaikhan,Berkhel,Sukhee•Lodonchuluun,Ganchimeg•Sandagdorj,達瓦•桑巴沙拉,Batzorig•Sukhbaatar,Nominjiguur•Tsend,巴特楚吉•烏爾薩伊赫

• 寂靜之地：入侵日

  露皮塔•尼永奧,傑曼•翰蘇,約瑟夫•奎恩,亞曆克斯•沃爾夫,丹尼斯•歐哈拉,凱恩•艾登,Jennifer•Woodward,Jonathan•Sparrow,以利亞•昂格瓦裏,Alexander•John,Zay•Domo•Artist,Mark•Khan

• 暴力本性

  瑞恩•巴雷特,,安德烈埃•帕夫洛維奇,卡梅隆•勒沃,裏斯•普雷斯利,利亞姆•利昂納,夏洛特•克裏根,莉亞•羅斯•塞巴斯蒂安尼斯,薩姆•魯爾斯頓,亞曆山大•奧利弗,蒂莫西•保羅•麥卡錫,勞倫-瑪麗•泰勒

• 非常家務事

  妮可•基德曼,紮克•埃夫隆,喬伊•金,麗茲•考什,凱西•貝茨,雪莉•可拉,吉塞特•瓦倫丁,奧利維亞•馬克林,貝利•M•B,艾格尼絲•孟嘉薩瑞,Seoum•Tylor•Aun,Melissa•Kennemore,Jonathan•Auguste,韋斯•傑頓,伊恩•格雷格,Kannon,科拉•林德爾,澤勒•阿芙拉多普洛絲,Sarah•Baskin,奈傑爾•巴托