贝利耶夫导演的这部充满胜利感的诗意的影片，上映时反法西斯战争还没有结束，影片叙述两位男女青年在前线相遇，结成了生死之交，共同为捍卫祖国而战。他们相约在战后晚上6点钟在克里姆林宫前的桥畔相会。影片获苏联国家电影奖二等奖。 　　 　　摘自《世界电影经典歌曲500首》P.540

贝利耶夫导演的这部充满胜利感的诗意的影片，上映时反法西斯战争还没有结束，影片叙述两位男女青年在前线相遇，结成了生死之交，共同为捍卫祖国而战。他们相约在战后晚上6点钟在克里姆林宫前的桥畔相会。影片获苏联国家电影奖二等奖。 　　 　　摘自《世界电影经典歌曲500首》P.540

At 6 AM in LA, a solitary man gets the newspaper from his front mat and heads for the toilet, to shave, brush and floss his teeth, and sit down for a read. One headline is, "Tenants want quake safety." In the next apartment, the clock radio goes off, blaring Latin music; a young couple and their baby wake. Their talk becomes an argument about the loud music, then some tickling, laughter, and a return to bed. As the man in the bathroom sits, the couple's bedstead bangs rhythmically against the wall, harder and harder: plaster falls, medicines descend from the cabinet into the basin, the toothbrush glass shatters, car alarms go off. Good sex or a 6.9 earthquake?

Lucian Pintilie's first film, Sunday at 6 O'clock (Duminica la ora 6, 1965) , one of the few Romanian modernist auteur films. The story, about a couple of young, anti-Fascist fighters who are persecuted and killed by the Iron Guard [2] after being betrayed by one of their own, meets the requirements of socialist realism to a point. 　　The film's style, however, takes on a life of its own, and the poetic parable about the Angels of Light confronting the Demons of Darkness is transformed into a disturbing psychological thriller, replete with sadistic torture scenes. From a close-up on the perspiring face of the hiding boy, the camera rapidly zooms down the elevator shaft to reveal the girl's body far below in the dungeons, and then cuts to a sun-bleached courtyard where young people are happily chatting, thus escalating the foreboding anticipation to the limit. The recurring audio-visual leitmotifs (the dark stairwell, the sounds of elevator machinery, the overexposed courtyard) trigger a series of flashbacks, introducing bit by bit the poignant story of two people destroyed by the uncanny forces of history. Thus, Pintilie's film yields a transparent existential metaphor for the despondency of young people in his country, trapped in the shaft of Communist dictatorship.

一则引起社会广泛关注的事件，一群专家组齐聚会议室，一天之内要给大众交代。

一则引起社会广泛关注的事件，一群专家组齐聚会议室，一天之内要给大众交代。

At 6 AM in LA, a solitary man gets the newspaper from his front mat and heads for the toilet, to shave, brush and floss his teeth, and sit down for a read. One headline is, "Tenants want quake safety." In the next apartment, the clock radio goes off, blaring Latin music; a young couple and their baby wake. Their talk becomes an argument about the loud music, then some tickling, laughter, and a return to bed. As the man in the bathroom sits, the couple's bedstead bangs rhythmically against the wall, harder and harder: plaster falls, medicines descend from the cabinet into the basin, the toothbrush glass shatters, car alarms go off. Good sex or a 6.9 earthquake?

Lucian Pintilie's first film, Sunday at 6 O'clock (Duminica la ora 6, 1965) , one of the few Romanian modernist auteur films. The story, about a couple of young, anti-Fascist fighters who are persecuted and killed by the Iron Guard [2] after being betrayed by one of their own, meets the requirements of socialist realism to a point. 　　The film's style, however, takes on a life of its own, and the poetic parable about the Angels of Light confronting the Demons of Darkness is transformed into a disturbing psychological thriller, replete with sadistic torture scenes. From a close-up on the perspiring face of the hiding boy, the camera rapidly zooms down the elevator shaft to reveal the girl's body far below in the dungeons, and then cuts to a sun-bleached courtyard where young people are happily chatting, thus escalating the foreboding anticipation to the limit. The recurring audio-visual leitmotifs (the dark stairwell, the sounds of elevator machinery, the overexposed courtyard) trigger a series of flashbacks, introducing bit by bit the poignant story of two people destroyed by the uncanny forces of history. Thus, Pintilie's film yields a transparent existential metaphor for the despondency of young people in his country, trapped in the shaft of Communist dictatorship.

影片由三个故事组成： 　　1.一名五年级的女生被同学怀疑偷了名牌书包而自杀身亡，女记者（李绮虹 饰）奉命追查这起事故。当她来到了小女孩所住的屋村时，一邻居说自己常在半夜三点钟见到女孩出现，该女记者决定在这恐怖的气氛中一探到底。 　　2.四名女孩（陈彦行、黄纪莹、纪炎炎、汤宝如）相约到长洲度假。但当时是旅游旺季，当她们到达长洲后已经找不到住处，不知情的她们在情急的情况下租下了有名的鬼屋，到了半夜三点钟，她们确实看到了些令人心寒的东西…… 　　3.维修工人大烂疮（陈小春 饰）与阿金（张达明 饰）在修理电梯时找到了一条金项链。两人欣喜并私分了项链。一晚，他们在工地里遇到了恐怖的事。

影片由三个故事组成： 　　1.一名五年级的女生被同学怀疑偷了名牌书包而自杀身亡，女记者（李绮虹 饰）奉命追查这起事故。当她来到了小女孩所住的屋村时，一邻居说自己常在半夜三点钟见到女孩出现，该女记者决定在这恐怖的气氛中一探到底。 　　2.四名女孩（陈彦行、黄纪莹、纪炎炎、汤宝如）相约到长洲度假。但当时是旅游旺季，当她们到达长洲后已经找不到住处，不知情的她们在情急的情况下租下了有名的鬼屋，到了半夜三点钟，她们确实看到了些令人心寒的东西…… 　　3.维修工人大烂疮（陈小春 饰）与阿金（张达明 饰）在修理电梯时找到了一条金项链。两人欣喜并私分了项链。一晚，他们在工地里遇到了恐怖的事。