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.

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.

公元2085年，全球管理力量举办了一次武术比赛。最后一个站着的战士赢得了一个信仰的绝对统治权。

公元2085年，全球管理力量举办了一次武术比赛。最后一个站着的战士赢得了一个信仰的绝对统治权。

在峦城缉毒大队的一次秘密缉毒行动中，副队长关伟天发现自杀的毒枭“六鬼”竟然是个替身，真“六鬼”另在其人在，这使得案情更加扑朔迷离，同时也使得关伟天的内线马力被迫暴露。 　　行动结束后，被缴获的一包超纯海洛因竟在警员戴莹的保险柜中神秘失踪，与此同时，一切的不利证据证证恰恰指向了副队长关伟天…… 　　毫不知情的关伟天依旧全身心的投入侦破工作之中，面关伟天的妻子，恋城家装业风云人物汪洋却在这个时候向他提出了离婚，面对熟悉又陌生的妻子，伟天感到不舍的同时亦感蹊跷。 　　母亲的再婚使得戴莹拥有了一位声势显赫继父副市长夏乾，而她的男友佟安东更是本市最大的房地产公司经理，然而毒品的丢失使得戴莹承受了巨大的心理压力，弟弟戴志军对她的莫名仇视令她神伤难忍，同时她渐渐发现佟安东与她的交往实在别有动机，而自己真正爱的人却是关伟天。 　　深爱丈夫的汪洋几经抉择后选择了离开，双方倍感痛苦。同时，关伟天在处长许青山的暗中周旋下得以留在大队，并在各方压力下继续着侦破工作，他的怀疑对象渐渐指向了佟安东。 　　戴莹终于发现了弟弟戴志军吸毒的事实，她伤心欲绝，而更令她震惊的是，使戴志军染上毒瘾的竟是自己送他的麦片，她意识到有人在陷害她们姐弟，同时，她在弟弟的房间发现毒品失窃当天她丢失的大衣，原来偷走毒品的不是别人，正是戴志军 　　关伟天为马力奔走求证，终于洗清了马力的杀人嫌疑，并再次得到了马力的信任，在马力的帮助下，关伟天得悉戴志军正是本案的线索，而与此同时，戴志军准备在佟安东的帮助下偷渡出境。虽然迟来的真爱使佟安东泯灭的良知迸发了一点火花，然而他依旧将戴志军送上了一条不归路…… 　　案情日趋明朗，幕后的黑手终于被斩断，“六鬼”虽然逃往了国外，然而天网恢恢，疏而不漏，迎接他的仍是正义的惩罚……

在峦城缉毒大队的一次秘密缉毒行动中，副队长关伟天发现自杀的毒枭“六鬼”竟然是个替身，真“六鬼”另有其人在，这使得案情更加扑朔迷离，同时也使得关…

影片根据Solly Perel的真实经历改编，讲述了和希特勒同一天生日的13岁德国犹太男孩Solly在二战期间通过机敏过人的应变能力和绝无仅有的巧合，保全生命，并最终与集中营中的兄长团聚的令人惊叹的故事。片中年轻的Solly是苏联共青团员，是德军的战斗英雄，是希特勒青年队的队员，甚至还爱上了一个纯雅利安女孩，但犹太人的特殊标志——割礼，却无时无刻提醒着他的身份。从无所谓、迷茫到怨恨，战争让他承担了太多与年龄不相称的压力，但最终他依然认同了自己的民族，并在成年后毫不犹豫地为自己的儿子也实行了割礼。

影片根据Solly Perel的真实经历改编，讲述了和希特勒同一天生日的13岁德国犹太男孩Solly在二战期间通过机敏过人的应变能力和绝无仅有的巧合，保全生命，并最终与集中营中的兄长团聚的令人惊叹的故事。片中年轻的Solly是苏联共青团员，是德军的战斗英雄，是希特勒青年队的队员，甚至还爱上了一个纯雅利安女孩，但犹太人的特殊标志——割礼，却无时无刻提醒着他的身份。从无所谓、迷茫到怨恨，战争让他承担了太多与年龄不相称的压力，但最终他依然认同了自己的民族，并在成年后毫不犹豫地为自己的儿子也实行了割礼。

Yair Takes care of his sick mother. She develops dependence upon him while his boyfriend asks him to move in.

Yair Takes care of his sick mother. She develops dependence upon him while his boyfriend asks him to move in.