Géza

妈妈去世，爸爸姐姐各怀心事，就在那个晚上，孤僻的9岁男孩男孩约翰斯交上了一个不寻常的“小”朋友：一个会魔法的小人——维普啦啦（Wiplala）。维普啦啦和他的魔法，将约翰斯和他的家人们带进了一场不寻常的冒险之旅。

《吹哨人：美国体操队性侵丑闻追踪》跟随《印第安纳波利斯星报》记者的脚步，调查全国最著名的奥运机构之一，美国体操协会的性侵指控。两年后，一名奥运会的医生锒铛入狱，美国国会开始追责，数百名事件亲历者纷纷发声。这部令人既震惊又振奋的影片揭露了精英体操界残酷的潜规则，同时记录了向机构抗争的律师，以及最重要的—那些拒绝保持沉默的勇敢吹哨人。他们与体制抗争，并取得了胜利。

带观众走入衰败中的欧洲，来一趟超凡之旅。集结了黑色幽默和奇幻故事，讲述一群人在碰上了一位陌生人之后，他们的生活开始崩坏。

本片用风格化的手法展现了匈牙利三代人的怪诞故事。丑陋的士兵马洛戈瓦尼（Csaba Czene 饰）每日在长官的责骂中进行机械精确的繁琐工作，他那被压抑的生命只能通过炙烤自己身体和偷窥时自渎来缓解，某夜他将猪的尸体看做肥硕的女人，一夜癫狂之后被长官枪杀；大胃王比赛的选手巴拉托尼（Gergely Trócsányi 饰）承担在社会主义国家比赛中为国争光的重任，他呕出的比赛用食品却是国民平日所无福消受的美食；巴拉托尼与一名女子竞吃选手体格消瘦异常的儿子靠制作动物标本为生，儿子不堪照顾肥硕臃肿的父亲，致使巴拉托尼身亡，儿子回到家里，将父亲和自己做成了标本……　　本片获2006年特兰西瓦尼亚国际电影节最佳导演奖等多项褒奖。

毒贩和他的女同伙在他们的最后一次任务上反水了他们的老板，最后被困在时间循环中。

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.

匈牙利电影制片厂出品的《绿宝石护身符》，由上译译制。 　　影片根据菲利普·悉尼爵士生前日记中关于匈牙利人民抗击土耳其侵略军的记述改编的。事件和人物大多是真实的。影片生动地再现了匈牙利历史上著名的埃格尔要塞争夺战。 　　一五三○年，土耳其奥斯曼帝国侵占匈牙利大部份国土，土耳其人独眼龙尤穆加克是个凶狠的家伙，他带领一帮匪徒到处烧杀抢掠，匈牙利人民在铁蹄下流离失所，到处呈现一片恐怖气氛。这天，匪徒经过一个村庄，把两个孩子:格尔盖和伊娃连人带马一起掳走。幸好小格尔盖很机灵，趁匪徒熟睡之际，牵着自己和尤穆加克乘骑的一匹马带着伊娃一起逃回自己的村庄。在村里勇士多博的带领下，他们终于消灭了土耳其匪徒，救出了众乡亲。 　　伊娃父亲赛赛是个贪财的人，他从尤穆加克的马鞍中获得大批金币，只把一个绿宝石戒子给了小格尔盖。多博喜欢勇敢的小格尔盖，特地把他送给匈牙利男爵巴林·托罗克，以期造就他成为一个真正的勇士。 　　十年很快过去了，格尔盖成了一个英俊的小伙子，又是最勇敢的匈牙利将领巴林·托罗克的最亲近的侍卫。这时，土耳其苏里曼国王又使用阴谋占领了匈牙利的布达要塞，并把巴林·托罗克软禁起来。接着，苏里曼又把匈牙利伊莎贝拉王后和小国王赶到偏僻的特兰西瓦尼亚小城去。这时伊娃也成了一个漂亮的姑娘，她是王后的侍从宫女。格尔盖和伊娃离别时，向伊娃求婚，两人立下誓言永远相爱，互换订婚戒子。伊娃让格尔盖永远带着绿宝石戒子作为护身符。格尔盖为了祖国的自由告别王后、伊娃去请求西班牙国王斐迪南皇帝的帮助。 　　一年后，格尔盖终于回来了。这天正好赶上伊娃出嫁。原来由王后作主，伊娃父亲也乐意把女儿嫁给有钱的弗杰斯中尉。格尔盖托人把戒子送给伊娃后，他和朋友离开了城堡。就在即将举行婚礼时，伊娃不见了。原来伊娃已女扮男装来追赶格尔盖了，两个有情人在树林里对天起誓结为夫妇。 　　格尔盖和梅克赛，以及主人巴林·托罗克的儿子杨西前往伊斯坦布尔营救被关押的巴林·托罗克，但是遭到一直在寻找绿宝石戒子的尤穆加克的破坏，营救计划失败，只好乘船返回。 　　几年后，格尔盖和伊娃生了一个天真活泼的儿子。独眼龙尤穆加克还在寻找他的绿宝石护身符。他又化妆成一个珠宝商来找伊娃，说是要看一下大英雄格尔盖的护身符绿宝石戒子，遭到伊娃的拒绝。尤穆加克花言巧语拐走了格尔盖的儿子。伊娃为此很痛苦，不得不由忠心的米克约什陪同，带上绿宝石戒子，前往埃格尔要塞寻找独眼龙，以交换儿子。 　　埃格尔要塞一直在匈牙利人手中，土耳其为了占领它，派出大兵围困这个要塞。匈牙利各省虽都派出战士来支援要塞，但兵力还是很悬殊。土耳其军队统帅索科利发来一封封威胁性的诏书，企图劝降要塞归顺土耳其苏丹。要塞在多博的指挥下，全体军民同仇敌忾，宣誓以身殉国也决不投降。格尔盖英勇战斗，还制造了威力无比的炮弹。双方战斗异常激烈，要塞出现多次险情:土耳其人用计偷袭了要塞旧城门，匈牙利勇士博尔其呼喊多博开炮轰击旧城门和敌人同归于尽，保全了要塞；多博的副官赫格多斯投降土耳其人，又带领土耳其人从秘密隧道偷进要塞，但被活捉，多博亲自处死这个叛徒。米克约什和伊娃从秘密隧道进要塞时又被敌人跟踪追击，米克约什掩护了伊娃，把敌人引进火药库，他点燃炸药和敌人同归于尽。在最后和敌人拼搏时，匈牙利无数勇士牺牲，伊娃和尤穆加克搏斗时，也受了伤。正当尤穆加克抢夺了绿宝石戒子，还要加害伊娃时，这个凶恶的敌人被匈牙利人用箭射死。埃格尔要塞在胜败关键时刻，放出了威力无比的火轮，打败了土耳其人的进攻，取得胜利。格尔盖、伊娃终于和孩子团聚。匈牙利人民以顽强战斗的精神赢得了反侵略战争的胜利。 　　 　　匈牙利彩色宽银幕故事片上海电影译制厂译制翻译:刘素珍　何际平译制导演:胡庆汉配音演员:王建华 童自荣 毕克 尚华 于鼎 杨文元

　　一个位于匈牙利平原上的小镇迎来了一个马戏团，最为独特的是这个马戏团有一条鲸鱼的尸体和一个神秘的王子。自从这个马戏团来到这个小镇，所有的秩序都收到干扰，最终爆发了一场暴利与善良的冲突……                                                                    　　幕后制作                                                                    　　前后制作长达四年，只有39个镜头，却与七个不同的摄影师合作，从美国、匈牙利、德国、法国等，以不同摄影师的独特风格创造出不同的精采片段，剧情以轮转式的从某一个角色的观点游移到另一个角色，鲸鱼马戏团在小镇上的出现，超过六百名的非职业临时演员，融合了早期纪录剧情片式的真实，加上精准的场面调度及强烈的视觉风格，以表现出东欧社会的现况，一块身处在欧洲社会的中央，却是国际社会最边缘局外的景况。

本片受到《黄油盒婴儿》真实故事的启发，是一部曲折的超自然惊悚片，也是向《闪灵》、《罗丝玛丽的婴儿》、《9号谋杀案》等经典慢热恐怖片的致敬。影片讲述了一对夫妇为了给妻子庆祝生日来到一个乡村酒店度周末，但这个酒店其实是一个闹鬼的孕产妇家庭所开，有婴儿和母亲在此被谋杀。由此这对夫妻遇到了一系列惊悚的事情。影片主演阵容强大，由戛纳影后苏珊娜·克莱门特领衔主演。