在古老的传说中，长有洁白羽翼的公主被禁锢在房间之中，希冀这外面的世界。某日，一位神秘的少年出现在了公主的面前，成为了公主唯一的朋友。透过少年之口，公主得以知道大千世界里发生的种种。然而，当公主和少年相爱之时，曾经的诅咒应验了。 神尾观铃（川上伦子 配音）自小体弱多病，孱弱的身体令她无法去学校上课，只能整日待在家中。然而，观铃却并没有因此而变得郁郁寡欢，因为她相信，自己总有一天会遇见传说中的那个少年。国崎往人（小野大辅 配音）是一位旅行中的人偶师，他一直在寻找母亲所告诉他的“在空中的少女”。当往人遇见观铃之时，他发现，也许观铃正是他想要寻找的那个人。
5年間付き合った恋人に別れを告げられるも、どうにかやり直したい前原。言動一つ一つがとてもリアルで、この町のどこかに生きているような主人公の未練も恥も隠さぬ怪演が見どころ。空回りする復縁作戦の行方は…？
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.
这一天，已经当了外祖母的赫尔加收到了一封粉红色的信，信中的内容让她大惊失色。原来信件是说赫尔加的母亲即将生命垂危，...
猿猴家族收养了一位特殊的孩子，一个自小被遗弃在森林深处的婴儿男孩。在猿猴们的悉心照料下，男孩快快乐乐的长大了，他们给他取名叫泰山。由于自小在猿猴家长大，泰山敏捷得跟猿猴一样，结交很多的森林朋友。直到有一天，深入到森林深处的探险家打破了泰山宁静的生活，这时他才发现自己原来是人类的一员。泰山爱上了探险家的女儿珍妮，但人类的所作所为又令他对回归人类还是继续在森林生活进退两难，泰山最终将如何抉择？
去年底上映的《热血新仔》是打破了荷兰历史票房纪录的现象级影片，在德国比利时等地也受到欢迎。该片主人公是五名下岗失业的反社会人格小混混，超二的无厘头剧情搭配上动感十足的七八十年代复古迪斯科音乐恶搞出了风格，同时背后还有着一定的现实和讽刺意义。 趁着热潮未褪，影片原版人马又推出了《热血新仔》第二部，于12月8日起在荷兰上映，首周动员到110万美元票房，比第一部197万美元的成绩有所缩水。比起第一部的黑马姿态，《热血新仔2》承受了更大压力并受到了更多的批评。“新仔”们此番出了要大战领镇的混混们还要面对变异僵尸的袭击，它少了点现实度，但依旧让人爆笑，比《僵尸肖恩》更二更欢乐。
胡家庄年味渐淡，寒暑异常，舞狮少年罗川跳脱飞扬，异想天开，梦想把舞狮技艺发扬光大，却常常弄巧成拙，所到之处鸡飞狗跳，被村民视为“扫把星”，是村长胡长礼眼中的“危险分子”年兽小五意外降临人间，大闹村庄，勾走了传家宝——狮头。罗川为找回狮头，和下凡捉年兽的鼠仙阿细相识，两人逐渐发现年兽并不可怕，可以和人类做朋友，但胡长礼爱村心切，被噬灵妖蛊惑，遁入疯魔，制造了一场针对年兽的阴谋，最终罗川和阿细联合村民，打败了噬灵妖，唤醒了胡长礼，胡家庄重归热闹，众人欢欢喜喜迎接春节到来。
故事发生在十一世纪末期，为了对抗占领了圣城耶路撒冷的撒拉逊人，罗马教皇组织了一支十字军。理查德（约翰内斯·波兰特约翰内斯·波兰特JohannesBrandrup饰）、皮特（亚利桑德罗·加斯曼AlessandroGassman饰）和安德鲁（菲力·莱福斯丁ThureRiefenstein饰）三名热血青年秉着保家卫国的热血之心参加了十字军，虽然三人分别来自不同的阶级，有着各自不为人知的过去，但战场上，他们很快就成为了生死与共的好友。但随着世家的推移，三个年轻人对十字军的暴行开始产生了分歧，最终，安德鲁跟随着军队继续前行，皮特和理查德则留在了耶路撒冷。
20世纪20年代的澳大利亚北部，身为牧师的当地人山姆因为自我防卫，而杀死了他的农场主哈里·马奇，一位身着锁链的土著小男孩目睹了一切面对法官弗莱彻组织人马的不断追捕，山姆不得不和妻子莉齐一起踏上逃亡的道路。可是，事情远远没有这么顺利。而在逃亡过程中，案件的真相慢慢变得明晰了起来。顾及怀孕的妻子，山姆最终放弃逃跑走上审判台。在一个白人至上的社会里，所谓的审讯又能否彰显公义？
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