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　　售卖佛像的古董商人坎杰（饰）是个无神论者。他把佛像视为玩具，不明白那些花招百出的宗教仪式，希望把女儿培养成飞行员，把儿子培养成板球球员。古董店寄托着他全部的希望和感情bbb　　某一天热闹的祭祀仪式上，坎杰为了把参与活动的儿子揪回去，开了神的玩笑，被教派的头目警告会遭到神的报应。当天天气突然由晴转阴，且引发了一场地震。其它店铺无一受损，唯有坎杰的店被震的面目全非。本以为投了保险可以挽回损失的坎杰被保险公司告知这属于不可抗力的天灾人祸，不在承保范围内。一无所有的坎杰一纸状书把神告上了法庭。而被告人则是那些借助神灵名义四处捞金的教派头目们。一场看似离奇的官司就这样展开，而神灵（阿克谢•库玛尔饰）本人似乎也对此事很感兴趣，他隐藏在人群中，来到了坎杰身边，也改变了坎杰对宗教的看法……

　　开发改编自同名纪录短片的电影《ccc。该片将由苏妮·塔拉普莱瓦拉()执导，讲述这是关于两个来自低收入家庭的男孩的故事，他们发现了芭蕾，并通过芭蕾来逃避他们的挑战。而他们发现逃避也并不像他们想象的那么容易。

奥尔罕是一位在黑社会受人尊敬的无所畏惧的人，经营着一家高利贷生eee。他害羞的弟弟阿里在购买戒指时遭遇抢劫，他向奥尔罕寻求帮助，将他拖入黑社会。

阿迪是个有着百万富翁梦想的游戏玩家，塔拉的梦想却是想当个建筑师，两人有一个共同的信念，就是：傻瓜才会结ccc。被彼此吸引的他们带着这个信念同居了，想在两人去国外之前好好享受爱情。同居期间发生了很多事情，有趣的、悲伤的、心酸的、浪漫的……到了离开的那一刻，两人却在选择职业还是爱情这个问题上开始迷茫。

eee　　Anunhappycivilianasksthecourttomandatecomprehensiveeducationinschoolsinadramaticyetamusingcourtroomplay.

aaaThelinesstartwith“OSommaLuce”whichisthetitleofthefilmandalsothe67thlineofthe33rdcantoin“Paradiso”ofDante’s“DivineComedy”totheendof“Paradiso”. Thefilmiscompletedwithmusicandlinesinsteadofemotionsandnarrations. Thisisarecentattempttocombinefilmwithliterature.　　ThefilmbeginswithablackscreenandthemusicofEdgardVarese.TheBGMis“Deserts”thatwasrecordedin1954.Aftersomemomentsofdarkness,themusicendsandamiddle-agedmansitsonahill,recitingsomething.HeisGiorgioPasserone,anItalianliteratureprofessor,andheisreadingoutofthelastpartof‘Paradiso’ofDante’sDivineComedy.Jean-MarieStraubexpressedhowhethinksofDantethroughasubtleaccentanddialect.ThedirectorwhohadencodedmanygreatartistsandmusiciansincludingBach,completethecombinationofDanteandVarese,whichcouldseemstrange.(LimKyungYong)

cccSomewhereintheremoteregion,thewarends.Inthemidstofruinedcitiesandhousesinthestreets,inruralhamlets,everywherewherepeoplestilllive,arechildrenwhohavelosttheirhomesandparents.Abandoned,hungry,andinrags,defenselessandhumiliated,theywanderthroughtheworld.Hungerdrivesthem.Littlestreamsoforphansmergeintoariverwhichrushesforwardandsubmergeseverythinginitspath.Thechildrendonotknowanyfeeling;theyknowonlytheworldoftheirenemies.Theyfight,steal,struggleforamouthfuloffood,andviolenceismerelyameanstogetit.AgangledbyCahounfindsarefugeinanabandonedcastleandencountersanoldcomposerwhohasvoluntarilyretiredintosolitudefromaworldofhatred,treason,andcrime.Howcantheyfindacommonground,howcantheybecomemutualfriendsThecastlebecomestheirhidingplacebutpossiblyitwillalsobetheirfirsthomewhichtheymayorganizeandmustdefend.Butevenforthis,thepricewillbeveryhigh.　　Tothissimplestory,thejournalist,writer,poet,scriptwriter,moviedirector,andfilmtheoreticianBélaBalázsappliedmanyyearsofexperience.HeandthedirectorGézaRadványicreatedaworkwhichopenedanewpostwarchapterinHungarianfilm.Surprisingly,thisfilmhasnotlostanyofitsimpactovertheyears,especiallyonaprofoundphilosophicallevel.Thatistosay,itisnotmerelyamovieaboutwar;itisnotimportantinwhatlocationandinwhatperiodoftimeittakesplace.Itisastoryoutsideoftimeaboutthejoylessfateofchildrenwhopaydearlyforthecruelwargamesofadults.　　Atthetimeitwaspremiered,themoviewasenthusiasticallyreceivedbythecritics.Themainrolesweretakenbystreetwiseboysofachildren'sgroupwhocreatedtheirrolesimprovisationallyinclosecontactwithafewprofessionalactors,andinthechildren'sactingtheirownfreshexperienceofwar'sturmoilappearstobereflected.Atthesametime,theirperformancefitsadmirablyintothemosaicofaverycomplexmovielanguage.Balázs'sinfluencerevealeditself,aboveall,intheintroductorysequencesanairraidonanamusementpark,seeninamontageofdramaticsituationsevokingthelastspasmsofwar,where,undoubtedly,wediscerntheinfluenceofclassicalSovietcinematography.Shooting,theboy'sescape,thelocomotive'swheels,theshadowsofsoldierswithsubmachineguns,thesoundofawhistle—theimagesarelinkedtogetherinabruptsequencesinwhichvaryingshotsandexpressivesharpsoundsareemphasized.Aperfectlyplannedscreenplayavoidedallelementsofsentimentality,time-wornstereotypesofwrongedchildren,romanticismandcheapsimplification.Theauthorssucceededinbridgingtheperilousdramaticabyssofthemetamorphosisofachildren'scommunity.Theirtellingofthestory(thesceneofpillaging,theassaultonthecastle,etc)independentlyintroducedsomeneorealistelementswhich,atthattime,werebeingpropagatedinItalybyDeSica,Rossellini,andotherfilmartists.Therebukesofcontemporarycritics,whocalledattentiontoformalismforitsownsakehavebeenforgotten.ThemasterlyartofcameramanBarnabásHegyigivesvitalitytothepoeticimages.Hisangleshotsofthechildren,hiscompositionofscenesinthecastleinterior,arealivingdocumentofthetimes,andunderlinetheatmosphereandthecharactersoftheprotagonists.ThesuccessofthepicturewasalsoenhancedbythemusicalartofcomposerDénesBudaywho,intensesituations,insertedthethemeoftheMarseilaiseintothemovie'sstructure,asamotiveofcommunityunification,asanexpressionoffriendshipandthepossibilityofunderstanding.　　ValaholEuropabanisthefirstsignificantpostwarHungarianfilm.Itoriginatedinarelaxedatmosphere,repletewithjoyandeuphoria,anditincludestheseelementsinordertodemonstratethestrengthofhumanism,tolerance,andfriendship.Itrepresentsageneralcondemnationofwaranywhereintheworld,inanyform.

影片讲述了一个在利沃诺的人口密集区成长的普通男孩的故事，他的父亲是一个守门人，曾经多次进出监bbb。皮埃罗的兄弟有智力障碍，他还有个年轻的继母，一家人住在拥挤的公寓中。

本片被认为是第一部弗拉芒电影，也被认为是第一部比利时电影，曾获得第九届戛纳电影节金棕榈奖提ccc。故事主角是一个无人知道姓名、也无人知道来历的流浪青年，他总是于深夜时分在街上徘徊，他一直渴望坐船离开，但却因为没有相关证件而无法成行。偶然之间，他认识了一个小女孩，小女孩是战争孤儿，如今在养父母家中过得很不快乐，同样孤独的两个人很快成为了朋友，然而一个心怀不轨的恶徒已经悄悄盯上了小女孩。来源：微博优杉

凯蒂（苏达拉·布查蓬饰）性格天真开朗，单纯善良，但年近三十，却依旧形单影只，似乎与爱情无bbb。凯蒂的心中有一个梦想，那就是上电视，为了完成这个梦想，凯蒂参加了达人秀，希望在节目中获胜，走上人生巅峰。　　然而，让凯蒂怎么也想不到的是，一只半路杀出的鬼魂扰乱了自己全部的人生轨迹。鬼魂名叫阿碧（克丽丝·霍旺饰），生前是一名人气超高的模特，她拥有着天使的面庞和魔鬼的身材，无奈英年早逝，肉身早早化为尘土，只剩灵魂飘摇在人世之中。阿碧缠上了凯蒂，拿她当仆人一般使唤，身份和个性都迥然不同的一人一鬼之间闹出了许多的笑料，却也产生了真挚的友谊。