9.0 其它 · 2025 · 印度 · 剧情片 

Bhushaan Manoj,Suraaj Suman,Jayshri Jagtap,Nitin Bansode,Harish Baraskar,Ram Daund,Vidya Joshi,Hemant Kadam,Rani Kasliwal,Vaishali Kendale,Pratiksha Kote,Sandhya Pawase,Hitesh Porje

 印度西部层峦叠嶂的壮美风光为罗翰·帕拉舒拉姆·卡纳瓦德的处女作《仙人掌之果》提供了诗意背景。这部聚焦家族伤痛与隐秘酷儿情愫的影片斩获圣丹斯电影节世界电影单元评审团大奖。某家族为悼念逝去的族长举行为期十日的哀悼仪式，令早已逃离乡野、定居孟买的阿南德（布尚·马诺杰饰）被迫重返故土。在传统悼亡仪式中（如翻看旧照、追忆往昔），阿南德与童年挚友巴尔亚重燃的情谊悄然催生出禁忌欲望。通过克制的情感铺陈、感官觉醒的细腻描摹，以及布尚·马诺杰始终内敛的表演，《仙人掌之果》最终在痛彻心扉的结局中完成对人物肖像的精妙雕琢。

8.0 英语 · 2015 · 其它 · 剧情片 

斯特林·奈特,史宾塞·洛克,迪恩·盖耶,Kote,Tolordava,Giorgi,Tsaava,Helen,Nelson

曾是国外先进机械代理商的方远舰（林雨申 饰），因不满国外的技术封锁，决心要将核心技术掌握在自己手里，通过不断地探索和突围，破釜沉舟地研发出达到世界领先水平的智能机器人，创造了令中国人自豪、世界瞩目的“独角兽”成就；他的供应商夏末（秦海璐 饰），为了带领濒临淘汰的老企业转型，不惜重金打造电力设备研发中心，培养科技人才、研制电力新材料，不仅走在行业前端制定了行业规则，还带动行业良性发展；留学归国的澳门人孟梦（黄米依 饰）坚持着自己的设计理念，在逆境中越挫越勇，最终创造了具有未来特色的设计师品牌；崔江北（朱雨辰 饰）、高山和蒋楠楠（热依扎 饰），是科创委与街道办的代表，他们是政府与企业沟通的桥梁，扎根基层，仗义敢为，陪伴着创业者们一起经历着曲折和沉浮，成就了企业，也成长了自己。

7.0 其它 · 1977 · 其它 · 喜剧片 

瓦赫坦·基加比泽,伏龙泽克·姆克尔强,Yelena,Proklova,叶甫根尼·列昂诺夫,Kote,Daushvili,Marina,Dyuzheva,阿可尔?戈米阿什维利,弗拉基米尔·巴索夫,瓦莲京娜·季托娃,鲍里斯拉夫·布隆杜科夫

塞西尔．B．戴米尔执导的这部影片，获得第二十五届奥斯卡最佳影片和最佳电影故事两项大奖。面对电视界的蓬勃发展，饱受威协的电影界，在这届选择了一部足以压倒电视气势的超级豪华大制作，作为这一届的最佳影片得主。故事描述一个在财政上出现问题的马戏团，为了让团员继续作一整季的表演，签下了有着名空中飞人圣巴斯蒂安加盟的演出。这使一心想在新一季成名的女空中飞人哈莉大为不满，另外经理布莱特为了事业一直刻意冷落暗恋他的哈莉。蒂安却因一次表演危险性高的动作发生意外，跌断了一只手而断送了表演前途。同时一名十年前失手杀妻的医生以小丑身份在马戏团里表演，后因火车翻覆而救布莱特，被警察发现。哈莉因此而被感动，于是对布莱特重燃爱火，并负起整顿马戏团表演的工作。查尔顿．赫斯登和康奈尔．威尔德的表演相当不错。

5.0 英语 · 1984 · 美国 · 爱情片 

Apollonia,Kotero,Morris,Day,王子

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.

7.0 其它 · 2002 · 其它 · 喜剧片 

马雷克·孔德拉特,雅尼娜·特拉奇克纳,安德烈·格拉博夫斯基,Michal Koterski,Joanna Sienkiewicz,Monika Donner-Trelinska,亚历山大·贝德纳茨,兹比格涅夫·布奇科夫斯基,Dorota Chotecka,Maria Ciunelis,Krystyna Czubówna,波泽纳·里基尔,彼得·弗龙切夫斯基,安娜·戈尔诺斯塔伊,Joanna Jedr

经历过职业战队与成人世界的残酷现实后，司徒莫言回归校园，遇到因电竞这一共同爱好走到一起的几位少男少女。脾气品性迥异而又青春洋溢的他们在学校中闹出了一出出啼笑皆非的故事，同时也逐渐温暖了司徒莫言的心。