剧情简介
背景设定在1892年，中文字幕讲述在一场严峻的反抗暴乱之后，中文字幕上尉Blocker勉强同意护送生命危在旦夕的夏延酋长及家人返回他们生活的部落。在这段从新墨西哥州前往蒙大拿州草地痛苦又冒险的旅程中，这对前竞争对手遇到了一个寡妇，她的家人们在平原之上被谋杀了。三方要共同合作克服艰难的地形继续上路，还要对抗科曼奇族的敌人以及邪恶凶猛的露宿者。
中文字幕第四页
背景设定在1892年，中文字幕讲述在一场严峻的反抗暴乱之后，中文字幕上尉Blocker勉强同意护送生命危在旦夕的夏延酋长及家人返回他们生活的部落。在这段从新墨西哥州前往蒙大拿州草地痛苦又冒险的旅程中，这对前竞争对手遇到了一个寡妇，她的家人们在平原之上被谋杀了。三方要共同合作克服艰难的地形继续上路，还要对抗科曼奇族的敌人以及邪恶凶猛的露宿者。
蔡莹莹
回复 :佳琦和5个小伙伴坐车去农家院游玩。路上碰到一个妇女被枪打中。由于进入深山手机没有信号，一车人只好到度假的目的地农家院报警。恰巧，农家院的固定电话和网络都坏了。这样佳琦更加不安，但是她的小伙伴们却不以为然。暴风雨来的很突然，大家都被困在农家院。一个背包客来到农家院，他的到来给孤独的农家院笼罩上的一层神秘的阴影。随着佳琦朋友的一个个失踪和死亡，背包客露出了本来的面目。然而这些就是佳琦被催眠的梦，方医生伪装成背包在催眠中清理佳琦心理的分裂人格。她的小伙伴们根本就不存在。方医生见效果起到了作用，再次进入梦中，利用佳琦分裂出来的人格给佳琦来了一次积极阳光的人生引导。最终佳琦痊愈，她将面对一个美好的未来。
刘佳芳
回复 :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.
黄家驹
回复 :韩双是从美国回来的归国华侨，受西方教育的影响，看到国内家长教育子女的方法感到极为不满。她帮助从农村来到城市的同桌刘向争夺人权，帮助他学习英语，渐渐成为同出同入，形影不离的好朋友，在即将回到美国前，却被发现不可告人的身世，惨遭父母抛弃，而此时韩双和刘向的友情已转化为亲情，在一个美好的节日，同刘向一起走进了他的，也是将来他、她和他的父亲共同的家，虽然是农村，但也有一片自主和自由的天堂！
