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剧情:

剧情介绍🐻‍❄️:“黑蝰,你现在想的不应该是空间蕴土,而是自身的安危,我本身就要找你算账,没想到你还主动送上门来!”红发神牛突然怒极反笑起来。“找我算账?”叶凡听罢顿时浮现出了不解之色。“我是孟宇,孟立乃是我的堂弟,你杀了他,我绝不会放过你!”红发神牛说话间,已经逐渐唤出了自身的幻源。此人,莫非连王苍都敢不在乎。她并不知道,帝风与王苍,是同一人,也是天命榜中最神秘的一人。舒阮玉目光转过,美眸再次一凝,她又看到了奇怪一幕,正准备离开的帝风青年脚步也停了下,诧异的看了身旁一眼。在他身旁,出现了两道奇怪的身影。一位衣衫褴褛的女子,身上带着尘土,头发干燥,甚至都已泛黄,浑身上下唯有那双眼睛非常清澈干净,偶尔回头看一眼身后之人,那干净的眼睛肿便满是担忧之色。📐...[展开全部]

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其它 欧洲的某个地方 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 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.
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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.
4K
欧美 保留地之犬第三季 本剧讲述俄克拉荷马州小镇的四位印第安原住民少年,整天惹事的同时又打击犯罪的故事。
高清
本剧讲述俄克拉荷马州小镇的四位印第安原住民少年,整天惹事的同时又打击犯罪的故事。
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美国 / 加拿大 / 中国大陆 灰猎犬号 影片讲述二战初期,由37支盟军船只组成的护航舰队在欧内斯特·克劳斯(汤姆·汉克斯饰)舰长率领的一艘美国驱逐舰指挥下,穿越险恶的北大西洋,同时还要与德国U型潜艇狼群的周旋。
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影片讲述二战初期,由37支盟军船只组成的护航舰队在欧内斯特·克劳斯(汤姆·汉克斯饰)舰长率领的一艘美国驱逐舰指挥下,穿越险恶的北大西洋,同时还要与德国U型潜艇狼群的周旋。
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中国大陆 娘子军传奇 符红女在《红色娘子军》芭蕾舞剧中饰演一名小女兵, 由于资历尚浅, 演出时总在舞台的一角作陪衬,难以有展示自我的机会。一次意外发生,她从舞台上跌落至台下,昏迷了过去。醒来时, 发现情况变得很糟……符红女数次昏迷, 她像是在梦境中走进了红色娘子军李香瑜的生命里, 进行了一次神交。李香瑜及其战友传奇且不平凡的经历,融汇在符红女一个多小时的记忆里, 短暂且悠长……
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符红女在《红色娘子军》芭蕾舞剧中饰演一名小女兵, 由于资历尚浅, 演出时总在舞台的一角作陪衬,难以有展示自我的机会。一次意外发生,她从舞台上跌落至台下,昏迷了过去。醒来时, 发现情况变得很糟……符红女数次昏迷, 她像是在梦境中走进了红色娘子军李香瑜的生命里, 进行了一次神交。李香瑜及其战友传奇且不平凡的经历,融汇在符红女一个多小时的记忆里, 短暂且悠长……
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中国大陆 早餐中国第二季 我认真做,您慢慢吃。由腾讯视频和海峡卫视联合制作的大型美食短纪录片《早餐中国》,致力讲好100个中国早餐日志传奇故事。第二季将深入更宽广的地域、聚焦更丰富的美食、看见更广大的有情人世,用一顿早餐遇见一天的美好。10月21日起,每周一至周五早8点腾讯视频全网独播,暖胃更新。
超清
我认真做,您慢慢吃。由腾讯视频和海峡卫视联合制作的大型美食短纪录片《早餐中国》,致力讲好100个中国早餐日志传奇故事。第二季将深入更宽广的地域、聚焦更丰富的美食、看见更广大的有情人世,用一顿早餐遇见一天的美好。10月21日起,每周一至周五早8点腾讯视频全网独播,暖胃更新。
超清
中国大陆 冷暖人生 《今夜不设防》是由重庆广播电视集团下属的重庆电视台电视节目制作有限公司出品的一档都市女性情感节目。该节目的前身是受到广大听众欢迎的同名深夜谈心节目。在2006年“五一”黄金周播出的《今夜不设防》全新改版,不但是重庆电视台首部普通话情景剧,更成为国内领先的女性故事演绎版访 谈节目。该栏目聚集了重视集团优秀的创作摄制班底,更由著名三大美女主持人曼华、波尔和玲稚以“女人的闺中密友,男人的红颜知己”的形象担岗主持。
720P
《今夜不设防》是由重庆广播电视集团下属的重庆电视台电视节目制作有限公司出品的一档都市女性情感节目。该节目的前身是受到广大听众欢迎的同名深夜谈心节目。在2006年“五一”黄金周播出的《今夜不设防》全新改版,不但是重庆电视台首部普通话情景剧,更成为国内领先的女性故事演绎版访 谈节目。该栏目聚集了重视集团优秀的创作摄制班底,更由著名三大美女主持人曼华、波尔和玲稚以“女人的闺中密友,男人的红颜知己”的形象担岗主持。
720P
中国大陆 开局审判护国战神,护国十载我被送上审判庭
蓝光
中国大陆 九重锦 暂无简介
1080P
暂无简介
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中国大陆 我的账户有一个亿 暂无简介
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暂无简介
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日本 龙珠Z:地球争霸战 在一个阳光明媚的日子里,克林、小八戒、布玛、悟饭(野泽雅子饰)相约去山里野营。夜深人静,一枚来自外太空的飞行器引发森林大火。克林和悟饭用气吹散大火,并集结七颗龙珠召唤神龙,将被火焚毁的森林恢复原状。悟饭还认识了新朋友快速龙。未过多久,新的敌人向地球逼近,他是与悟空长相极其相似的邪恶赛亚人达列斯。达列斯带着爪牙在宇宙中流浪,到处寻找适合种植神精树的星球。神精树的果实可以成倍提高一个人的战斗力,但这种树也会将该星球的生命力全部吸收耗尽。为了阻止达列斯的阴谋,拯救赖以生存的美丽地球,Z战士团结一致,迎战敌人……本片为龙珠的剧场版。
超清
在一个阳光明媚的日子里,克林、小八戒、布玛、悟饭(野泽雅子饰)相约去山里野营。夜深人静,一枚来自外太空的飞行器引发森林大火。克林和悟饭用气吹散大火,并集结七颗龙珠召唤神龙,将被火焚毁的森林恢复原状。悟饭还认识了新朋友快速龙。未过多久,新的敌人向地球逼近,他是与悟空长相极其相似的邪恶赛亚人达列斯。达列斯带着爪牙在宇宙中流浪,到处寻找适合种植神精树的星球。神精树的果实可以成倍提高一个人的战斗力,但这种树也会将该星球的生命力全部吸收耗尽。为了阻止达列斯的阴谋,拯救赖以生存的美丽地球,Z战士团结一致,迎战敌人……本片为龙珠的剧场版。
超清