234
3.0
HD中字
霸主
3.0
上映时间:04月27日
主演:约翰·艾德坡,怀亚特·拉塞尔,马蒂尔德·奥利维耶,皮鲁·埃斯贝克,约翰·马加罗,伊恩·德·卡斯泰克,雅各布·安德森,多米尼克·阿普尔怀特,博基姆·伍德拜因,恩里奇·雷德曼,马克·麦克肯纳,海莉·卡迈克尔,米迦勒·埃普,罗斯·汤姆林森,本·特瓦索里,安迪·韦勒姆,帕特里克·布拉莫尔,肖恩·狄克逊,豪尔赫·莱昂·马丁内斯,伊娃·马格亚
简介:

  J·J·艾布拉姆斯监制的科幻片、他的坏机器人制片公司的首部R级电影《霸王行动》发布海报,伞兵降落带着血腥。该片被很多影迷戏称为“《使命召唤》的僵尸模式”,讲述二战时期的诺曼底登陆遇上生化丧尸:
  诺曼底“霸王行动”前夕,美国伞兵深入敌人后方,执行一项对入侵的成功至关重要的任务。但当接近目标时,他们开始意识到,在这个纳粹占领的村庄里发生的事情比简单军事行动要复杂许多,他们将与超自然力量斗争,而这些是纳粹实验的一部分。

234
HD中字
霸主
主演:约翰·艾德坡,怀亚特·拉塞尔,马蒂尔德·奥利维耶,皮鲁·埃斯贝克,约翰·马加罗,伊恩·德·卡斯泰克,雅各布·安德森,多米尼克·阿普尔怀特,博基姆·伍德拜因,恩里奇·雷德曼,马克·麦克肯纳,海莉·卡迈克尔,米迦勒·埃普,罗斯·汤姆林森,本·特瓦索里,安迪·韦勒姆,帕特里克·布拉莫尔,肖恩·狄克逊,豪尔赫·莱昂·马丁内斯,伊娃·马格亚
646
2.0
HD中字
大街上的商店
2.0
上映时间:04月27日
主演:艾达·卡敏斯卡,约瑟夫·克罗纳,哈娜·斯利夫科娃,马丁·霍利,亚当·毛泰伊考,弗兰季塞克·兹瓦里克,米库拉斯·洛迪津斯凯,马丁·格雷戈尔,阿洛伊兹·克拉马尔,Gita,Misurová,Frantisek,Papp,海伦娜·兹瓦里科娃,Tibor,Vadas,Eugen,Senaj,路易丝·格罗索娃
简介:

  1942年,沦陷的斯洛伐克某小镇上,德国人正在主持修建庞大的木制纪念碑,但当地木匠托尼(Jozef Króner 饰)对此并不关心,妻子的唠叨已经让他足够烦恼。托尼的妹妹嫁给军官后生活大有改观,托尼也借妹夫的权利,获赠一纸批文,得到了大街边一家犹太商店的所有权。店主是一位78岁的犹太寡妇劳特曼(Ida Kaminska 饰),耳聋眼花,托尼与她夹缠不清之际始发现这家商店徒有空壳,早已没有多少货物,然而照顾劳特曼可以得到犹太组织的酬劳,托尼于是瞒着妻子在店中帮工,对外却宣称自己是店长。不久,德国人开始把犹太人收押后运往集中营,托尼想要藏起劳特曼,但心中经历着巨大的煎熬。商店外,犹太人在纪念碑下集中出发,商店内,托尼面对不明所以的老妇借酒浇愁……
  本片获1966年奥斯卡最佳外语片奖。

646
HD中字
大街上的商店
主演:艾达·卡敏斯卡,约瑟夫·克罗纳,哈娜·斯利夫科娃,马丁·霍利,亚当·毛泰伊考,弗兰季塞克·兹瓦里克,米库拉斯·洛迪津斯凯,马丁·格雷戈尔,阿洛伊兹·克拉马尔,Gita,Misurová,Frantisek,Papp,海伦娜·兹瓦里科娃,Tibor,Vadas,Eugen,Senaj,路易丝·格罗索娃
699
2.0
DVD
下水道
2.0
上映时间:04月27日
主演:特雷莎·伊泽夫斯卡,塔杜施·扬查尔,韦恩泽斯洛·格林斯基,塔德乌什·格威亚兹多夫斯基,斯坦尼斯拉夫·米库尔斯基,埃米尔·卡尔维茨,弗拉杰克·舍伊巴尔,Teresa,Berezowska,Zofia,Lindorf,Janina,Jablonowska,Maria,Kretz,扬·恩格莱特,Kazimierz,Dejunowicz,Zdzislaw,Lesniak,马奇·马奇约斯其,亚当·帕夫利克夫斯基,理查德·菲利普斯基,瓦迪斯瓦夫·科瓦尔斯基,卡其米尔茨·库茨,艾娃·维斯涅夫斯卡,Tomasz,Witt
简介:

  1944年9月底,悲剧性的华沙起义已接近尾声,一支波兰“国家军”在中尉查德拉(Wienczyslaw Glinski 饰)带领下驻防一栋破败的建筑。华沙市内被德军分块切断,与家人失散的作曲家米考只好在这支30人小队中栖身。悬殊的军事差距让战士们心灰意懒,米考的钢琴声有些怪异的飘荡在废墟上空。德军的小型攻势很快让队伍无法招架,全员进入下水道转移阵地。
  波兰战士们在没有饮食的下水道中茫然前行,德军不时投放毒气,有一些战士疯掉了,但更多人死在了下水道中。查德拉的队伍很快迷失了方向,战士们也分别迷失在暗无天日的下水道中……
  本片获1957年戛纳电影节评委会大奖。是导演安杰依·瓦伊达(Andrzej Wajda)战争三部曲的第二部。

699
DVD
下水道
主演:特雷莎·伊泽夫斯卡,塔杜施·扬查尔,韦恩泽斯洛·格林斯基,塔德乌什·格威亚兹多夫斯基,斯坦尼斯拉夫·米库尔斯基,埃米尔·卡尔维茨,弗拉杰克·舍伊巴尔,Teresa,Berezowska,Zofia,Lindorf,Janina,Jablonowska,Maria,Kretz,扬·恩格莱特,Kazimierz,Dejunowicz,Zdzislaw,Lesniak,马奇·马奇约斯其,亚当·帕夫利克夫斯基,理查德·菲利普斯基,瓦迪斯瓦夫·科瓦尔斯基,卡其米尔茨·库茨,艾娃·维斯涅夫斯卡,Tomasz,Witt
250
2.0
HD
光荣岁月2006
2.0
上映时间:04月27日
主演:贾梅尔·杜布兹,萨米·纳塞利,罗什迪·泽姆,塞米·鲍亚吉拉,伯纳德·布兰卡恩,马修·西莫內,阿萨德·包伯,贝诺提·吉欧斯,梅拉尼·罗兰,安托万·夏佩,奥雷莉·埃尔特韦特,托马斯·朗曼,蒂博·德·蒙塔朗贝尔,Dioucounda,Koma,Philippe,Beglia,Momo,Debbouze,Abdelkim,Bouchareb,Abdelhamid,Idjaini,Abdeslam,Arbaoui,朱莉·德博纳,Othman,Ilyassa,Mohamed,Nesrate
简介:

  1944年至1945二战期间,一群阿尔及利亚的伊斯兰教小伙子应召入伍,被编入法国军队,参加对德国的反击战。阿布戴卡德( 罗舍迪·泽姆 Roschdy Zem饰)因通过军事理论考试而被授予下士军衔,在上级命令下带领同乡的弟兄们编进严厉的马丁尼兹中士(伯纳德·布兰肯 Bernard Blancan 饰)的队伍中。在首次训练中,矮小伙萨义德(贾梅尔·杜布兹 Jamel Debbouze 饰)在应对中士投手雷的考察时险些酿成大祸,幸好中士出手敏捷,反应神速,才让这批新兵幸免于难。在战斗中,这些新兵表现神勇,特别是下士,中士对他另眼相看。午餐时,出于对非洲士兵的歧视,食品分配极为不公,为了各种族士兵权益,下士不惜以下犯上,贸然顶撞了中士,两人是否就此结下私人恩怨?非洲士兵们的命运又何去何从?

250
HD
光荣岁月2006
主演:贾梅尔·杜布兹,萨米·纳塞利,罗什迪·泽姆,塞米·鲍亚吉拉,伯纳德·布兰卡恩,马修·西莫內,阿萨德·包伯,贝诺提·吉欧斯,梅拉尼·罗兰,安托万·夏佩,奥雷莉·埃尔特韦特,托马斯·朗曼,蒂博·德·蒙塔朗贝尔,Dioucounda,Koma,Philippe,Beglia,Momo,Debbouze,Abdelkim,Bouchareb,Abdelhamid,Idjaini,Abdeslam,Arbaoui,朱莉·德博纳,Othman,Ilyassa,Mohamed,Nesrate
608
2.0
HD
军歌嘹亮1965
2.0
上映时间:04月27日
主演:兰州部队8037部队战士业余演出队九人话剧组
简介:

  全副武装的战士们,分三路纵队精神抖擞地走在行军的路上,九人话剧组组长王鸿信带领组员们随部队进行宣传活动。 陈兴 打快板, 王谋 读带领战士们呼口号。部队走到延红县武装部,武装部张部长问 王鸿信 ,最近接了一批新兵, 有的人 嫌他们文化低,你们话剧队可不可以编些这方面内容的节目?王鸿信找出现成的节目单,而且就地给新兵们演出新编的话剧《谁看的准》。武装部室内坐满了看演出的新战士和家属。话剧开始,某炮兵部队侦察班计算兵李恨子为自己没测验好心情十分沉重,班长也埋怨他文化低,反映慢,不适合当计算兵。连长批评了班长的错误想法,用自己的亲身经历教育班长,只要思想正确、有决心就一定能克服困难,掌握军事技术。李恨子也讲述了解放前,自己的爸爸被 美国 鬼子的汽车轧死,妈妈背着他到一家纺织厂当工人的遭遇。班长和战士们听后深受教育。之后,李恨子想尽一切办法苦练基本功,他趴在铁道边用笔记录每节车箱的号码,练习反映能力,终于练出了一身过硬的本领。话剧结束以后,在篮球场上,大个子新兵嫌战士甲的球衣太破,二人发生了争执。话剧组就这个题材在战士中间演出了小话剧《球衣问题》。部队篮球队队员 杨光 大爱慕虚荣,不愿穿 补丁 衣服, 孙明哲 用老军长艰苦朴素的故事教育杨光大,使杨认识到应发扬和保持艰苦朴素的优良传统。话剧组在生活中发现,有些战士缺乏分析头脑,对复杂的事物不愿做深入的调查,喜欢做绝对肯定或否定的结论。根据这个问题,编了话剧《先别肯定》。政委和武装部张部长与战士们一起观看了演出。业余演出队战士 于林 ,积极练习吹唢呐,遭到高大牛的反对。高看问题主观、片面,认为练习吹唢呐影响训练,不了解 于林 经常放弃休息刻苦训练军事技术,不了解于林爱吹唢呐是因为他家几辈都是吹鼓手,受尽了地主的压迫。最后,高大牛在事实面前受到深刻教育。九人话剧组演出结束受到领导和战士们的热烈欢迎,大家都称赞他们在部队中,真正发挥了文艺的宣传作用。

608
HD
军歌嘹亮1965
主演:兰州部队8037部队战士业余演出队九人话剧组
653
2.0
HD
出生证明
2.0
上映时间:04月27日
主演:Andrzej,Banaszewski,Beata,Barszczewska,马里乌什·德莫霍夫斯基
简介:

  In 1961, Stanislaw Rozewicz created the novella film "Birth Certificate" in cooperation with his brother, Taduesz Rozewicz as screenwriter. Such brother tandems are rare in the history of film but aside from family ties, Stanislaw (born in 1924) and Taduesz (born in 1921) were mutually bound by their love for the cinema. They were born and grew up in Radomsk, a small town which had "its madmen and its saints" and most importanly, the "Kinema" cinema, as Stanislaw recalls: for him cinema is "heaven, the whole world, enchantment". Tadeusz says he considers cinema both a charming market stall and a mysterious temple. "All this savage land has always attracted and fascinated me," he says. "I am devoured by cinema and I devour cinema; I'm a cinema eater." But Taduesz Rozewicz, an eminent writer, admits this unique form of cooperation was a problem to him: "It is the presence of the other person not only in the process of writing, but at its very core, which is inserperable for me from absolute solitude." Some scenes the brothers wrote together; others were created by the writer himself, following discussions with the director. But from the perspective of time, it is "Birth Certificate", rather than "Echo" or "The Wicked Gate", that Taduesz describes as his most intimate film. This is understandable. The tradgey from September 1939 in Poland was for the Rozewicz brothers their personal "birth certificate". When working on the film, the director said "This time it is all about shaking off, getting rid of the psychological burden which the war was for all of us. ... Cooperation with my brother was in this case easier, as we share many war memories. We wanted to show to adult viewers a picture of war as seen by a child. ... In reality, it is the adults who created the real world of massacres. Children beheld the horrors coming back to life, exhumed from underneath the ground, overwhelming the earth."
  The principle of composition of "Birth Certificate" is not obvious. When watching a novella film, we tend to think in terms of traditional theatre. We expect that a miniature story will finish with a sharp point; the three film novellas in Rozewicz's work lack this feature. We do not know what will be happen to the boy making his alone through the forest towards the end of "On the Road". We do not know whether in "Letter from the Camp", the help offered by the small heroes to a Soviet prisoner will rescue him from the unknown fate of his compatriots. The fate of the Jewish girl from "Drop of Blood" is also unclear. Will she keep her new impersonation as "Marysia Malinowska"? Or will the Nazis make her into a representative of the "Nordic race"? Those questions were asked by the director for a reason. He preceived war as chaos and perdition, and not as linear history that could be reflected in a plot. Although "Birth Certificate" is saturated with moral content, it does not aim to be a morality play. But with the immense pressure of reality, no varient of fate should be excluded. This approached can be compared wth Krzysztof Kieslowski's "Blind Chance" 25 years later, which pictured dramatic choices of a different era.
  The film novella "On the Road" has a very sparing plot, but it drew special attention of the reviewers. The ominating overtone of the war films created by the Polish Film School at that time should be kept in mind. Mainly owing to Wajda, those films dealt with romantic heritage. They were permeated with pathos, bitterness, and irony. Rozewicz is an extraordinary artist. When narrating a story about a boy lost in a war zone, carrying some documents from the regiment office as if they were a treasure, the narrator in "On the Road" discovers rough prose where one should find poetry. And suddenly, the irrational touches this rather tame world. The boy, who until that moment resembled a Polish version of the Good Soldier Schweik, sets off, like Don Quixote, for his first and last battle. A critic described it as "an absurd gesture and someone else could surely use it to criticise the Polish style of dying. ... But the Rozewicz brothers do no accuse: they only compose an elegy for the picturesque peasant-soldier, probably the most important veteran of the Polish war of 1939-1945." "Birth Certificate" is not a lofty statement about national imponderabilia. The film reveals a plebeian perspective which Aleksander Jackieqicz once contrasted with those "lyrical lamentations" inherent in the Kordian tradition. However, a historical overview of Rozewicz's work shows that the distinctive style does not signify a fundamental difference in illustrating the Polish September. Just as the memorable scene from Wajda's "Lotna" was in fact an expression of desperation and distress, the same emotions permeate the final scene of "Birth Certificate". These are not ideological concepts, though once described as such and fervently debated, but rather psychological creations. In this specific case, observes Witold Zalewski, it is not about manifesting knightly pride, but about a gesture of a simple man who does not agree to be enslaved.
  The novella "Drop of Blood" is, with Aleksander Ford's "Border Street", one of the first narrations of the fate of the Polish Jews during the Nazi occupation. The story about a girl literally looking for her place on earth has a dramatic dimension. Especially in the age of today's journalistic disputes, often manipulative, lacking in empathy and imbued with bad will, Rozewicz's story from the past shocks with its authenticity. The small herione of the story is the only one who survives a German raid on her family home. Physical survial does not, however, mean a return to normality. Her frightened departure from the rubbish dump that was her hideout lead her to a ruined apartment. Her walk around it is painful because still fresh signs of life are mixed with evidence of annihilation. Help is needed, but Mirka does not know anyone in the outside world. Her subsequent attempts express the state of the fugitive's spirits - from hope and faith, moving to doubt, a sense of oppression, and thickening fear, and finally to despair.
  At the same time, the Jewish girl's search for refuge resembles the state of Polish society. The appearance of Mirka results in confusion, and later, trouble. This was already signalled by Rozewicz in an exceptional scene from "Letter from the Camp" in which the boy's neighbour, seeing a fugitive Russian soldier, retreats immediately, admitting that "Now, people worry only about themselves." Such embarassing excuses mask fear. During the occupation, no one feels safe. Neither social status not the aegis of a charity organisation protects against repression. We see the potential guardians of Mirka passing her back and forth among themselves. These are friendly hands but they cannot offer strong support. The story takes place on that thin line between solidarity and heroism. Solidarity arises spontaneously, but only some are capable of heroism. Help for the girl does not always result from compassion; sometimes it is based on past relations and personal ties (a neighbour of the doctor takes in the fugitive for a few days because of past friendship). Rozewicz portrays all of this in a subtle way; even the smallest gesture has significance. Take, for example, the conversation with a stranger on the train: short, as if jotted down on the margin, but so full of tension. And earlier, a peculiar examination of Polishness: the "Holy Father" prayer forced on Mirka by the village boys to check that she is not a Jew. Would not rising to the challenge mean a death sentance?
  Viewed after many years, "Birth Certificate" discloses yet another quality that is not present in the works of the Polish School, but is prominent in later B-class war films. This is the picture of everyday life during the war and occupation outlined in the three novellas. It harmonises with the logic of speaking about "life after life". Small heroes of Rozewicz suddenly enter the reality of war, with no experience or scale with which to compare it. For them, the present is a natural extension of and at the same time a complete negation of the past. Consider the sleey small-town marketplace, through which armoured columns will shortly pass. Or meet the German motorcyclists, who look like aliens from outer space - a picture taken from an autopsy because this is how Stanislaw and Taduesz perceived the first Germans they ever met. Note the blurred silhouettes of people against a white wall who are being shot - at first they are shocking, but soon they will probably become a part of the grim landscape. In the city centre stands a prisoner camp on a sodden bog ("People perish likes flies; the bodies are transported during the night"); in the street the childern are running after a coal wagon to collect some precious pieces of fuel. There's a bustle around some food (a boy reproaches his younger brother's actions by singing: "The warrant officer's son is begging in front of the church? I'm going to tell mother!"); and the kitchen, which one evening becomes the proscenium of a real drama. And there are the symbols: a bar of chocolate forced upon a boy by a Wehrmacht soldier ("On the Road"); a pair of shoes belonging to Zbyszek's father which the boy spontaneously gives to a Russian fugitive; a priceless slice of bread, ground  under the heel of a policeman in the guter ("Letters from the Camp"). As the director put it: "In every film, I communicate my own vision of the world and of the people. Only then the style follows, the defined way of experiencing things." In Birth Certificate, he adds, his approach was driven by the subject: "I attempted to create not only the texture of the document but also to add some poetic element. I know it is risky but as for the merger of documentation and poety, often hidden very deep, if only it manages to make its way onto the screen, it results in what can referred to as 'art'."
  After 1945, there were numerous films created in Europe that dealt with war and children, including "Somewhere in Europe" ("Valahol Europaban", 1947 by Geza Radvanyi), "Shoeshine" ("Sciescia", 1946 by Vittorio de Sica), and "Childhood of Ivan" ("Iwanowo dietstwo" by Andriej Tarkowski). Yet there were fewer than one would expect. Pursuing a subject so imbued with sentimentalism requires stylistic disipline and a special ability to manage child actors. The author of "Birth Certificate" mastered both - and it was not by chance. Stanislaw Rozewicz was always the beneficent spirit of the film milieu; he could unite people around a common goal. He emanated peace and sensitivity, which flowed to his co-workers and pupils. A film, being a group work, necessitates some form of empathy - tuning in with others.
  In a biographical documentary about Stanislaw Rozewicz entitled "Walking, Meeting" (1999 by Antoni Krauze), there is a beautiful scene when the director, after a few decades, meets Beata Barszczewska, who plays Mireczka in the novella "Drops of Blood". The woman falls into the arms of the elderly man. They are both moved. He wonders how many years have passed. She answers: "A few years. Not too many." And Rozewicz, with his characteristic smile says: "It is true. We spent this entire time together."

653
HD
出生证明
主演:Andrzej,Banaszewski,Beata,Barszczewska,马里乌什·德莫霍夫斯基