SYNOPSIS 　　Sun-young, a fashion model, accidentally runs a man over on a bicycle on her way home and flees the scene. Young-pyo witnesses the accident and blackmails Sun-young for sexual favors. Sun-young is in love with Cheol-min, the son of a wealthy businessman but she is unable to stop Cheol-min from taking advantage of her. Young-pyo devises a plan to rip off Cheol-min and his family. Things go from bad to worse when Young-pyo involuntarily kills Cheol-min's parents when they strongly resist his demands. Sun-young becomes accessory to murder when she is forced to help him hide the bodies. She finds out that the man whom she had hit is not dead but alive and walking the streets, and sees the big picture. Cheol-min investigates his parents' disappearance and discovers Sun-young and Young-pyo's relationship… 　　故事 　　Sunyoung的时装模特仅在交通事故中逃脱，在交通事故中，他被一个在回家路上骑自行车的男子抓到。目睹这个的永愚强迫他与孙to有性关系。永愚谋利用财富谋利，制定精确的计划。永宝绑架军队之父，军队之父，要求大笔钱。然而，由于宋代的叛乱，他和他的妻子被杀，孙永成在永乐的强制下，在被遗弃的沉船中组织尸体成为同谋。孙某找到一个以为他在车里遇害的男人，意识到了所有的细节，而在追求父母失踪的同时，他了解了孙爷与永愚之间的关系。

The Sun in a Net (Slnko v sieti) became a key film in the development of Slovak and Czechoslovak cinema from the mandated Socialist-Realist filmmaking of the repressive 1950s towards the Czechoslovak/Czech New Wave and socially critical or experimental films of the 1960s marked by a gradual relaxation of communist control. Stefan Uher's cinematic idiom is as exquisite and deliberate as any of his European contemporaries, including Michelangelo Antonioni, Ingmar Bergman and Chris Marker. The Sun in a Net received multiple votes in a wide survey of Czech and Slovak film academics and critics in the late 1990s asking them for their lists of the 10 best films in the history of filmmaking in the former Czechoslovakia.

The Sun in a Net (Slnko v sieti) became a key film in the development of Slovak and Czechoslovak cinema from the mandated Socialist-Realist filmmaking of the repressive 1950s towards the Czechoslovak/Czech New Wave and socially critical or experimental films of the 1960s marked by a gradual relaxation of communist control. Stefan Uher's cinematic idiom is as exquisite and deliberate as any of his European contemporaries, including Michelangelo Antonioni, Ingmar Bergman and Chris Marker. The Sun in a Net received multiple votes in a wide survey of Czech and Slovak film academics and critics in the late 1990s asking them for their lists of the 10 best films in the history of filmmaking in the former Czechoslovakia.

1940年阿尔及利亚。丈夫被囚禁在巴黎，漂亮的犹太女人蒂娜艰难地独自扶养着儿子梅亚。蒂娜身边有许多追求者，都被蒂娜委婉地拒绝了。她心中一直坚信：有一天丈夫一定会回到她身边。日子一天天过去，梅亚长大了。他尊敬爱戴妈妈，可也梦想着能够去巴黎。当他终于下定决心独自前往巴黎时，蒂娜的心碎了...

本片用拼贴的手法将现实中的照片糅合在动画里，形成鲜明独特的视觉风格。 　　男人一生都生活在自己订制的框架里。无忧无虑的青少年时代结束后，他像大多数人一样，踏上社会进入机遇与危机并存的职场，在某一个对他人来说倒霉透顶的场合被老板赏识，事业平步青云，遇到看上眼的女人，开始用金钱维持爱情和婚姻，逐渐变得两耳不闻“框”外事。这一过程中，加在他身上的框架变得日益复杂庞大，修饰的纹路也越来越多，他也越来越陶醉于呆在其中。

1950年9月6日。班森中尉率领的排在一次战斗中和主力部队失去联系。他们在撤出敌占区途中，遇到另外一个排的蒙塔拿上士。他们必须把幸存者转移到师部所在地465高地。在转移途中，班森中尉和蒙塔拿上士意见不一致，经常争斗。在经过多次惊心动魄的遭遇战后，他们终于重出重围，与主力部队会合。 　　该片与《钢盔》一起被誉为50年代里描写朝鲜战争的最为写实的影片。它的独特之处就是细致描写了战争中军人的心理活动。影片通过激烈的战斗场面和人物冲突，描绘了绝望中军人的各种心态：善良、勇敢、自私、绝望、希望、宽慰。

一个暴徒被定罪，并接受实验性的脑部手术，以消除他的大脑中的犯罪元素。这次行动抹去了他过去生活的所有记忆，包括他把赃物藏在哪里。他被他的帮派绑架了，他们试图从他嘴里套出真相。他的记忆以奇怪的梦的形式回来了，他和他的前女友顺着线索找到了钱

《天上的太阳》讲述了孓然一身进京的单纯的女人，克服无数的逆境，完成自己真正的梦想和爱情的故事。http://m.zz236.com/