圣诞前夕，结束国外工作的马蒂亚斯，返回到他土生土长的罗马尼亚特兰西瓦尼亚多民族山村。马蒂亚斯一边担心着儿子鲁迪从罗马尼亚母亲安娜那里受到的教育，一边渴望着再次见到他的匈牙利前情人奇拉。　　他发现他的儿子和整座村庄都笼罩在一种奇怪的非理性恐惧和不安的阴影之下。当奇拉管理的面 包店雇佣了两名外国工人时，根深蒂固的冲动和怨恨涌现，冲突横生和情绪爆发，社区和平的表象被打破。

《德古拉》（Dracula）是由安迪·戈达德、布莱恩·凯利、史蒂夫·希尔执导，乔纳森·莱斯·梅耶斯、托马斯·克莱舒曼、奥利弗·杰森-科恩、杰西卡·德·古维等主演，哈利·佩顿担任编剧的恐怖电视剧，于2013年10月25日在美国首播。[1]该剧讲述了在遥远的1890年，邪恶的吸血鬼德古拉化身成为成功的美国企业家艾伦（乔纳森·莱斯·梅耶斯 饰）来到伦敦，他此行有两个目的，一是研究当时十分发达的电力科学，二是找到曾经的仇人，向其施以无情的报复，但在这个过程中他爱上了一位相貌和逝去妻子一模一样的女子米娜（杰西卡·德·高芙 饰）的故事。[2]故事发生在遥远的1890年，邪恶的吸血鬼德古拉化身成为成功美国企业家艾伦（乔纳森·莱斯·梅耶斯JonathanRhysMeyers饰）来到伦敦，他此行有两个目的，一是研究当时十分发达的电力科学，而是找到曾经的仇人，向其施以无情的报复。一次偶然中，艾伦遇见了名为米娜（杰西卡·德·高芙JessicaDeGouw饰）的年轻女子，让艾伦感到震惊的是，米娜的长相同他已经死去的妻子简直一模一样，而米娜也坚信，自己绝不是第一次见到眼前这个名叫艾伦的陌生男子。就在艾伦一步一步实现自己野心的同时，他的宿敌——吸血鬼猎人范海辛（托马斯·克莱舒曼ThomasKretschmann饰）也展开了他的行动，这一次，他们能否分出胜负呢？亚历山大以美国实业家的身份举办派对，前来参加派对的众人各怀鬼胎，他当众展示新科技，这令大家都很震惊。 克莱夫在离开派对时大放厥词，引发亚历山大的不满，他被亚历山大杀害。 龙修会八年来一直在追查吸血鬼的事情，他们拿走了克莱夫的人头。 亚历山大用出色的外表勾引女子，从而获得鲜血，但心中对米娜念念不忘。 原来亚历山大就是德古拉，他为复仇而来亚伯拉罕将德古拉制服，并与他达成合作一同消灭龙修会。亚历山大欲买下亚伦特手中的股份，但却被拒绝。 为了得到米娜，亚历山大为米娜的男友提供工作，并附赠豪宅。米娜接受了亚历山大同乘车的邀请，两人进行了愉快地交谈。 哈克接受工作，开始为亚历山大效劳。哈克欲向米娜求婚，但他却不认同米娜的梦想，这让米娜很伤心。 正当亚历山大在吸血时，龙修会的人突然赶到……

When Fuchs starts his new job as a teacher in a prison school, replacing the old and unconventional teacher Berger against her will, he is forced to confront his biggest fear, triggered by the mysterious, withdrawn inmate Samira.

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.

　　1918年严冬，第一次世界大战和西班牙流感使得无数鬼魂漂泊于世间。从事遗体摄影的年轻人托马斯来到匈牙利的一座小村庄，目睹了一系列奇怪的超自然现象。他决定留下来调查鬼魂的意图，试着寻找摆脱它们的方法。十岁的孤儿安娜伴随他一起探险，在鬼魂愤怒的狂欢下度过重重险境。本片入围第36届华沙国际电影节国际竞赛单元。《身后事》是一部匈牙利惊悚电影，由Péter Bergendy执导，他曾执导过《下一站布达佩斯》等影片。影片主要讲述了在匈牙利社会主义时期，一个死尸清理工人因为意外发现了一件重要文件而卷入了一场政治阴谋，最终在危机中生死存亡的故事。影片让人印象深刻的是其对历史背景和政治阴谋的刻画。影片设置在1989年匈牙利的变革前夜，这个时期匈牙利国内政治动荡，许多人因为政治原因被监禁，甚至失踪。影片中的死尸清理工人是一个没有政治信仰的人，他的意外发现让他成为了一个政治阴谋的牺牲品，面临着来自多方的威胁和压力，令人捏一把汗。此外，影片的摄影和音乐也是一大亮点。摄影师Dávid Jancsó巧妙地运用了阴影和光线，打造出一种诡异的氛围。音乐家Csaba Kalotás的音乐也非常出色，为影片的紧张氛围增色不少。影片的演员表现也相当出色，Viktor Klem在片中扮演的死尸清理工人塔博尔是一个既可怜又英勇的角色，他的演技让人印象深刻。Fruzsina Hais在片中扮演的女主角Anita也是一个很有深度的角色，她在政治阴谋中的复杂身份和心理变化，让人对她的表演赞不绝口。总的来说，《身后事》是一部值得一看的惊悚电影，它不仅仅是一部富有张力的悬疑故事，更是一部反思历史的作品，通过故事中的人物和情节，让人们思考权力、信仰、良知等问题。

Thejourneyofatranswomanwholeavesherhometownanddoesn’tcompromisehergoaltobeafreeandindependentwoman.

自殺不成的老婦人，屢次從頂樓一躍而下卻無法如願以償，只好再次跛腳步上公寓頂樓。每經過一層樓，便經過一段光怪陸離。七層樓，七種人生樣貌，詭異至極、毫無邏輯，以黑色幽默之姿一窺當代生活，笑看人性的虛偽及庸俗，笑到最後卻忍不住心底發毛。　　匈牙利導演喬治帕爾菲二○○二年初試啼聲，便以處女作《田園風光》一炮而紅。其後的《百年癲狂》更顯瘋狂不羈，在坎城引發熱議。擅於揉合奇想與創意，以魔幻寫實著稱的喬治帕爾菲，新作《公寓瘋光》影像同樣奇幻詭譎，戲劇調度與剪輯美學更貼近夢境囈語。從喜劇、科幻到神話，從歡笑、驚悚到恐懼，在風格迥異的七部短片裡，導演也展現其對不同類型的遊刃有餘。