无论如何，美女扎克（Trevor Wright 饰）看起来都是一个如此阳光、美女温柔的男孩，他热爱冲浪，喜欢学习，艺术素养颇高，而且有着十分难得的家庭观念。为了照顾姐姐的孩子，他甚至可以放弃读书的机会。平常的日子里，扎克便和好友盖布（Ross Thomas 饰）一起玩耍。某天，他结识了盖布的哥哥肖恩（Brad Rowe 饰）——一个在好莱坞小有名气的同性恋作家。他们互相欣赏，渐渐为对方所吸引，一段不被亲人们所理解的爱情悄悄滋生……本片荣获2007年西雅图同性恋电影节观众奖最佳新人导演和最佳影片奖；2007年坦帕同性恋国际电影节最佳摄影、最佳女配角（Tina Holmes）、最佳影片和最佳男主角（Trevor Wright）4项大奖。
二手玫瑰
回复 :从来没有一个小人物，像马建国一样，是跟着共和国一起成长起来的。这部电影极为接地气，好玩、诙谐、有趣，还会让你落泪，讲述北京的故事。马建国是49年10月1号出生。他家世代做灯笼，是地地道道的手艺人。当时，他并不喜欢这门手艺，总想着其他伟大的理想。他像很多20、30岁的人，经历过年轻人的打架、与父母产生矛盾，暗恋一个善良女子，一门心思考大学。经过了种种磨难之后，马建国最终喜欢上了老灯笼这门手艺。马建国代表老一辈，正直刚强，坚守着手工灯笼的传统手艺，也秉持着传统文化的高尚品格。他的孙子马五六作为年轻一代，从排斥不理解到渐渐领悟认可，实现了人生中重要的一次蜕变。祖孙俩的关系也越发融洽深入。
回复 :感动全日本机迷，真人真事改编，殿堂级游戏系列《FINAL FANTASY》首度跳入真人电影舞台！工作狂老豆岩田晓(吉田钢太郎 饰)含蓄寡言，为养家日夜劳碌，冷落儿子光生(坂口健太郎 饰)。缺乏父亲关怀的光生，记忆中唯一一次同对方真正交流，就是童年某夜两人一齐玩电视游戏《FINAL FANTASY III》。某日，晓无缘无故突然辞职退休，家人为此大感困惑。为找出背后原因兼重修旧好，光生决定启动「光之父亲」计划！他先推荐老豆玩多人网络RPG游戏《FINAL FANTASY XIV》，再在游戏中以神秘女玩家Maidy的身份结伴，把对方训练成高手，带他和一班网络玩家过关斩将！迷上游戏的晓逐渐开怀，更与光生组队打终极大佬，并吐露埋藏心底的秘密…
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.
