越囧Alonso is a skater who goes across Spain with the skate as his only means of transport. The road will force him to cross with characters that will change his life and they will discover the reason why Alonso does this curious and strange trip.
栗锦
回复 :时尚之王赛场上高骏和杨迪狭路相逢，但比赛中暗藏危机，饮恨之后的高骏面临女友分手，公司员工离职，公司资金链断裂等问题一筹莫展，这时候聂思雨因为对高骏的崇拜而入职品立。通过校园招聘解决了人手问题，通过星慕的注资解决财务问题，在聂思雨的帮助下，品立开始一步步重归正轨。品立更紧锣密鼓备战新品发布，聂思雨和高骏的感情也渐渐升温，但也导致了昔日合作人韦义的不满，为品立埋下了不安的种子。而此时高骏前女友归国，又引起了高骏与聂思雨的矛盾，最终两人冰释误会成为恋人。
麦志诚
回复 :A Milanese wartime entrepreneur forms a band of misfits and rogues to stage an elaborate heist of a legendary treasure belonging to Benito Mussolini.
傅斯彦
回复 :与Stefan Uher和Elo Havatta一样，Eduard Grecner也是60年代斯洛伐克新浪潮电影的缔造者之一。他的三部影片《一周七天》（1964）《尼绒月亮》（1965）和这部《徳拉克的回归》都是斯洛伐克新浪潮电影的代表作。这部叙事方法独特带有明显意识流风格的黑白影片甚至间接影响到了后来法国导演格里耶在捷克拍摄的两部影片《说谎的人》和《Eden and After》。A special place in the development of feature films is reserved for Eduard Grecner, the creator of just one good film, Dragon Returns (Drak sa vracia, 1967), titled after the nickname of the lead character. After his initial work with Uher, Grecner made his mark as a proponent of the so-called "intellectual" film, the antithesis of the sociologically, or rather, socially critical film. Grecner's great role model was Alan Resnais, a young French filmmaker who sought to introduce Slovakia to the idea of film as a labyrinth in which meanings are created not by stories, but by complex configurations of dialogue, shots, and various layers of time, thus differentiating film from both literature and theater. In Dragon Returns―the story of a solitary hero who is needed by villagers living far in the mountains, but who is rejected by them at the same time because of his detachment―Grecner brought the tradition of lyricized prose to life through a whole series of formal aesthetic techniques. Alain Robbe-Grillet immediately developed this idea in the film shot in Bratislava The Man Who Lies (Slovak: Muz, ktory luze; French title: L'homme qui ment; 1968), and perfected it in Eden and After (Eden a potom, 1970).
