剧情简介
路遥和马力二人，福利很多年前的结拜兄弟为了生活去城市里闯天下，福利他们经历打架，他们靠他们的遵纪守法和吃苦耐劳挣到了钱。可他们犯了合伙人的通病，创业打拼时可以同仇敌忾，有了成果守业时，矛盾显现。最终二人不欢而散。三十年后，身价不菲的两位老人相遇后，老人该有的沉稳老练没有了，只有钻牛角尖的幼稚争斗。最后相互的一句对不起，拉近了三十年距离。
2019福利视频
路遥和马力二人，福利很多年前的结拜兄弟为了生活去城市里闯天下，福利他们经历打架，他们靠他们的遵纪守法和吃苦耐劳挣到了钱。可他们犯了合伙人的通病，创业打拼时可以同仇敌忾，有了成果守业时，矛盾显现。最终二人不欢而散。三十年后，身价不菲的两位老人相遇后，老人该有的沉稳老练没有了，只有钻牛角尖的幼稚争斗。最后相互的一句对不起，拉近了三十年距离。
谢雷
回复 :内战连绵多年之后，一名尼泊尔共产党员终于收拾行囊，带著路上巧遇的孤儿返回偏远家乡，好为甫逝世的父亲奔丧。他的亲兄弟在内战中投入了敌对阵营，水火不容的两人只好约定暂时休战；妻子则生下了其他男人的女儿，小女孩却以为他才是自己的亲生父亲。在抬着遗体下山火葬的这趟险峻路程中，隐忍已久的对立衝突终于全面爆发。导演将延烧十年的尼泊尔内战巧妙纳入一场葬礼之中，在这座偏远山村裡，男尊女卑与种姓制度仍然根深柢固；来自外界的男主角儘管曾为现代普世价值而战，但为了替亡父完成葬礼，却不得不屈从于信奉古老习俗的村中耆老。现代与传统、宗教与世俗，甚至家庭与亲情、战争与和平，终将在这一面飘扬著白日的尼泊尔国旗之下疗伤癒合。
回复 :20世纪80年代初，来自匹兹堡的瑞泽·夏普（西尔维斯特·史泰龙 Sylvester Stallone 饰）和基德·麦克唐（罗伯特·德尼罗 Robert De Niro 饰）上演了两场倾倒世人的经典拳击比赛。但在1984年的赛后不久，如日中天的瑞泽突然宣布退役，并很快花光所有财产，重新变回为了生计而出卖劳动力的普通工人。与之相对，基德也持续下滑，代言各种不入流的广告，靠卖嘴皮子打发时光。2014年的某天，瑞泽当年的经纪人之子小但丁（Mason Mackie 饰）找上门来，邀请他参与某款游戏的制作。谁知在制作现场，瑞泽和不请自来的基德大打出手，二人乱斗的视频在网络上疯传，他们的三十周年纪念之战也重新提上日程。只不过早已过了巅峰状态的二人，能否应对时光的消蚀，并放下心中芥蒂，完成这场迟到的对决……
王壮
回复 :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.
