7.0 英语 · 2025 · 美国 · 剧情片
Apollo·Luce,Luca·Rosini,Lucrezia·Spreafico
在威尼斯的中心，这座充满浪漫和神秘的神奇城市，一位年轻的演员等待着他心爱的杰出导演的到来。这一刻的等待对他来说不仅仅是时间，而是一次真正进入他的意识和情感深处的旅程。艺术的精神萦绕在他的周围，每一条通道、每一条狭窄的街道似乎都在告诉他爱情和人际关系的永恒问题。沉浸在他的思绪中，他开始意识到爱不仅仅是一种感觉，而是一个复杂而多方面的过程，充满欢乐和痛苦。威尼斯以其独特的氛围，不仅成为他的背景，而且成为他内心斗争的活生生的参与者，迫使他重新思考自己的情感和经历。他提出这样的问题：爱的真正含义是什么？沿着这些古老的桥梁和街道，每走一步，他都会感觉到自己对爱情的理解正在发生变化。他面对自己的恐惧和希望，以及那些使关系真正深刻和有意义的时刻。这种自我认识和意识到自己的感受的过程充满了他的灵魂，也许正是在这种寻找中，他发现的不仅仅是爱问题的答案。由此，威尼斯不仅成为一个等待的地方，更是一个深刻反思的空间，这里的每一个角落都在提醒人们，爱不仅是激情和浪漫，更是理解、信任和愿意向另一个人敞开心扉。
5.0 其它 · 2021 · 其它 · 剧情片
乔恩·琼·布里恩斯,史蒂夫·布卢姆,卡洛斯·阿拉斯拉奇,曼尼·贾希尼托,艾瑞克·鲍扎,达伦·克里斯,丹特·巴斯克,Simon,Dela,Cruz,Apollo,Abraham,Christopher,Carlo,Caling,Eugene,Adalia,Cheska,Aguiluz,Christian,Velarde,Bryan,Encarnacion,Nica,Rojo,薛·米契尔,卢·戴蒙德·
又发生超自然悬案？马上找亚历珊德拉·特莱丝来帮忙就对啦！《#灵探特莱丝#》改编自菲律宾 得奖漫画，以马尼拉为背景，带您见识闻所未闻的恐怖民间传说。
5.0 其它 · 2021 · 其它 · 欧美动漫
乔恩·琼·布里恩斯,史蒂夫·布卢姆,卡洛斯·阿拉斯拉奇,曼尼·贾希尼托,艾瑞克·鲍扎,达伦·克里斯,丹特·巴斯克,Simon,Dela,Cruz,Apollo,Abraham,Christopher,Carlo,Caling,Eugene,Adalia,Cheska,Aguiluz,Christian,Velarde,Bryan,Encarnacion,Nica,Rojo,薛·米契尔,卢·戴蒙德·
开朗热情的新任教师沉灵，自踏入校园后就遇见了一连串的死亡意外… 而看似品学兼优，才貌兼具的优秀学生，却有著令人发指的邪恶性格。在长久积弊之下，终于发生令人匪夷所思的连续杀人事件─这些受害的师生们唯一的共同点，皆是在收到通讯软体的特定贴图后，竟离奇的照著贴图的形式死亡… 而层层追查下去，发现命案都与一年前的意外事件有关。最终，随着沉灵继续的调查，将会发现这个案子背后，还隐藏著一个残酷的真相，一个令人无法承受的沉重代价…
8.0 意大利语 · 2008 · 意大利 · 爱情片
雷欧·波瓦,米凯拉·夸特罗乔凯,Luca Angeletti,Francesca Antonelli,Francesco Apolloni
体形硕大，但却动作敏捷的斯蒂芬·西格自从潜龙轰天赢得了千万观众的拥戴之后，很多他的作品都被译成某某潜龙。这次的深海潜龙是讲得什么故事呢？这次西格是个专门替美国政府干脏活的突击队长，因为执行任务时手段过于残忍被判重刑。正在服刑期间，美国政府发现在拉丁美洲一个小国的秘密基地内有人正在研制成功控制人类意识的催眠方法，而派去摧毁这一基地的特工大多有去无回。无奈之下政府启用西格以及他一同服刑的手下。任务很明确：摧毁基地，解救俘虏。西格和他的一班神勇将士，轻松地完成了任务。谁知，归途中噩梦开始了... ...
6.0 其它 · 2021 · 其它 · 恐怖片
玛加·萨尔瓦多,Shella Mae Romualdo,蒙·康菲多,Arthur Acuña,Michael Roy Jornales,Kiel Rodriguez,罗伊斯·卡布雷拉,Apollo Abraham,Archi Adamos,Pontri Bernardo,Jayson Nalda,DM Lingatong,Arrian Labios,Jestoni Sayson,John Stev
故事重返上世纪90年代，终极反派宇宙大帝（科尔曼·多明戈 Colman Domingo 配音）从天而降，驱使以天灾（彼特·丁拉基 Peter Dinklage 配音）为首的恐惧兽掀起地球危机。绝境之中，蛰伏许久的巨无霸终觉醒，联合汽车人变形出发，一场前所未有的决战即将上演。
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.