讲述1918年冬，400名新入伍的乌克兰士官生必须坚守基辅，阻挡苏联红军的大规模入侵

Andras Kovacs, a leading light of the new Hungarian cinema, brought his "docudrama" technique to his 1966 film Cold Days. The story deals with the systematic slaughter of Bosnians by Hungarian fascists during World War II. Kovacs is not quite a revisionist historian, but he does cast doubt on the "official" interpretations of this horrible human-rights violation. Nor is the audience allowed to slip into complacency: it comes as a shock to discover that many of the characters whom we're rooting for turn out to be the villains! Both written and directed by Kovacs, Cold Days was originally released as Hideg Napok.

Set in the Second Phase Offensive of the Korean War, "The Battle at Lake Changjin" tells an epic historical tale of the battle of Lake Changjin (also known as Chosin Reservoir).

A huge hit when it was released, the movie is set in 1953, when after the death of Stalin, Beria pronounced an amnesty which put out of work camps an enormous amount of inmates, causing an increase in criminality. 　　At a small village by a lake, live two political exiles spending there few years after camp sentence as "enemy of the people". They don't benefit from the amnesty. The older one works and is integrated in the small community, the younger, a former WWII officer survives doing nothing and is kept on the side. Yet the daughter of a mute woman enjoys to have some talk with him. 　　The police officer tells the main administrative clerck about the recent removal of Beria, the massive amnesties and a group of six wanted men wandering near the place after a murder. 　　The bandits are in fact hiding in a barn, and the next day they attack and take control of the villagers. Not presents at the moment, the two political prisoners can choose: leave the place, but they decide instead to take action against the bandits. Paradox: the so-called "enemies of the people" are in fact the ones who rescue the people, from the real criminals. 　　Historically, the movie is fantastic, because produced in 1987, it was the first mainstream feature dealing directly with a critic of political prisoners and exiles. Khrushchov's destalinization ended the stalinian Terror but didn't allow a level of artistic freedom of expression making possible a movie like this one. 　　History of politics aside, the action and tension are good. Some have labelled it a "russian western" , as few outsiders fight a bunch of nasty and violent bad guys and save the town's good people. 　　The filming location is in central Karelia, not far from Petrozavodsk, north-western Russia. A very beautiful nature. 　　Valeri Priyomykhov received a state prize for his portrayal of the main character.

本片是罗马尼亚导演杜米特雷斯库的处女作，1994年他凭借《Thalassa Thalassa》获鹿特丹国际电影节金虎奖而成名，但这部更早一些的作品却好象被所有人遗忘了一样无名。影片讲述一个去黑海旅游的女人因故迷路，偶然与海边看守灯塔的男人相识，在交谈中两颗孤独的心渐渐靠近，然而当男人用摩托车载着女人回到城市时，与宁静的海边截然不同的世界里的现实迫使女人最终选择独自离开，留下了一段短暂却永恒的爱情往事。80年代后黑白色已成为一种特别的表现方式，本片也不例外，沙砾般的黑白影像质感带出的梦幻使人仿佛漫步于主人公内心一段久远的记忆之中。两位主演远称不上是俊男美女，但给我的感觉很真实，在片中他们连吻戏都没有，这在如今的爱情剧里几乎看不到了，我觉得导演更多是想展示不同心灵之间的碰撞和融合，而并非简单地表现爱情，虽然结局略显伤感，但过程却能让你永刻于心，这就足够了。

本片是罗马尼亚导演杜米特雷斯库的处女作，1994年他凭借《Thalassa Thalassa》获鹿特丹国际电影节金虎奖而成名，但这部更早一些的作品却好象被所有人遗忘了一样无名。影片讲述一个去黑海旅游的女人因故迷路，偶然与海边看守灯塔的男人相识，在交谈中两颗孤独的心渐渐靠近，然而当男人用摩托车载着女人回到城市时，与宁静的海边截然不同的世界里的现实迫使女人最终选择独自离开，留下了一段短暂却永恒的爱情往事。80年代后黑白色已成为一种特别的表现方式，本片也不例外，沙砾般的黑白影像质感带出的梦幻使人仿佛漫步于主人公内心一段久远的记忆之中。两位主演远称不上是俊男美女，但给我的感觉很真实，在片中他们连吻戏都没有，这在如今的爱情剧里几乎看不到了，我觉得导演更多是想展示不同心灵之间的碰撞和融合，而并非简单地表现爱情，虽然结局略显伤感，但过程却能让你永刻于心，这就足够了。

该片讲述了云南昭通永善一个七岁男孩夏宗武和姐姐夏宗超的求学之路，与此前曝光的社会热点鲁甸“冰花男孩”的成长环境如出一辙。片中姐弟倆每天要从海拔接近四千米的家里去往半山腰海拔两千多米的学校上学，大冬天从早上六点起床走到八点，头发会结霜，手上都是冻疮。镜头下孩子们不是在快步走，就是在慢跑，穿插其中的只有简单的对白，和姐弟对时间的问答，行路难而岁月长。然而当他们来到学校时，画面中我们看到，孩子跟着老师探索学习的眼神、吃到热腾腾的鸡腿的笑容，又是温润而饱满的，影片通过这段跋涉的求学路，展现了孩子们且行且坚韧的原生力量。