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蘑菇影视

非洲之王
其它其它2006
  奥托是一个不喜欢旅行的人,如果不是女儿安娜意外中奖,获得去非洲旅行的机会,他连自己所居住的城市都不会迈出一步。在学校里,安娜的同学们总是在讲放假的时候又去哪里旅行了,可是安娜每个假期都是与父亲待在家里。这次意外中奖令安娜心花怒放,尽管奥托非常不情愿,并且希望已经过世的妻子能在冥冥中让安娜改变主意,但安娜自有办法。在安娜的一再坚持下,父女俩终于踏上了前往非洲的旅程。坐飞机对奥托就是一件苦差事,到了非洲,扑面而来的热浪,当地的各种动物,尤其是非洲的食物更令他无法忍受,使他指不起旅行的兴趣。他们的旅伴也不合他的胃口,一个比一个让人讨厌:艾尔维娅嘴里总是在不住地说,她的同伴汉斯·赫尔曼不停地在拍照片,油滑贪婪的艺术品商人约翰更上让他觉得格格不入。唯一令奥托感到欣慰的是,女儿安娜从来也没有象这次这么开心高兴。这时候发生了一件令人意想不到的事。旅行团参观当地的一个小村子,这是他们第一次真正与当地的居民接触。这个部落的酋长刚刚去世,部落的人正准备举行仪式选举新的酋长。约翰和老酋长的儿子密谋夺取酋长的位置,阴差阳错,在仪式上被选中的恰恰却是奥托!可以想象,奥托当时的想法就是马上回家,越快越好,但是当他的脚就要踏上返程的飞机时,他对非洲的印象,他的整个生活完全发生了变化。促成这种变化的可能是安娜,可能是部落的居民,也可能是部落美丽聪明的公主芬达。

蘑菇影视

欧洲的某个地方
其它其它1948
  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.

蘑菇影视

非洲猫科
美国英语2011
  《非洲猫科》是一部讲述发生在非洲平原上的一个有关野生动物的真实故事的影片。由塞缪尔·杰克逊担任旁白。  影片的主角是两个家庭,三只大型猫科动物,分别是未成年的母狮玛拉、成年雄狮毒牙以及雌性非洲猎豹希塔。他们在非洲平原上的爱、对族群的忠诚、猎食、离家、成长以及争斗和死亡组成了一部波澜壮阔的野生动物的史诗。  玛拉是一只未成年的小母狮,只有6个月大。它的母亲莱亚正在用尽浑身解数照顾自己的女儿。玛拉活泼好动,是河岸狮群中的乖宝宝,它的母亲莱亚是狮群中最有经验的猎手。不过一次意外的负伤终结了莱亚“捕猎能手”的地位。母亲的地位岌岌可危,形单影只的玛拉也暴漏在了狮群的危险之中。而玛拉也只有尽快学会捕猎才能巩固自己在狮群中的地位并且填饱雄狮和自己的肚子。可是时日无多,母亲身负重伤,它未来的生活还是一个问号。而且,另一个狮群中的雄狮在就开始算计着这对母女了。  成年雄狮毒牙是狮群的首领,它得此名称的原因是在一次打斗中,它失去了自己的一颗犬齿,现在只有一颗犬齿孤零零地留在它的嘴里。不过这并不是毒牙最大的心患,他的首领地位正在受到另一个狮群的觊觎。觊觎毒牙狮群和地盘的是凯利,它和它的同伴们住在河流的北岸,虽然有属于自己的领地,但是大型猫科动物的一个特性就是争夺地盘。它们一次一次地试探毒牙的实力,一次一次地妄图扩张自己的版图。在崇尚绝对力量的自然界,软弱、负伤的毒牙还有保护自己狮群的可能性么?它虚弱的肢体是不是正在一步一步地把狮群推向险境的边缘?  希塔是一只漂亮的非洲猎豹,它是一个单亲妈妈,膝下有几个孩子。尚未成年的这些小家伙还没有意识到自然界的危险。而希塔只有孤零零地复杂打猎和照料自己的孩子。为了找到吃的东西,它不得不长途跋涉去找食物。可能离开家太久、太远,对于并不擅长长跑的猎豹而言并不是一个好主意……

蘑菇影视

大裂谷:美丽的非洲心脏
英国英语2010
  【内容简介】  东非大裂谷自红海至赞比西河口,连绵三千里,从太空都能看到。这里是多姿多彩的地方,有喷发的火山、覆盖着森林的高山、美丽的峡谷、广袤的草原、巨大的平湖和河流,是鳄鱼、河马、狮子、大象、火烈鸟和非洲人的家园。BBC采用最新的高清摄影技术,探讨了形式东非大裂谷的地质力量,展现世界上野生动物品种最多的地貌。  Visible from space, Africa's Great Rift Valley runs three thousand miles from the Red Sea to the mouth of the Zambezi. It's a diverse terrain of erupting volcanoes, forest-clad mountains, spectacular valleys, rolling grasslands, huge lakes and mighty rivers, and is home to crocodiles, hippos, lions, elephants, flocks of flamingos and a diversity of indigenous peoples.  Using state-of-the-art high definition filming techniques, this series investigates the geological forces which shaped East Africa's Great Rift, and which make it one of the world's most wildlife-rich landscapes.  Part 1: Fire  The valley is the product of deep-seated geological forces which have spewed out a line of cloud-wreathed volcanoes stretching from Ethiopia to Tanzania. Their peaks provide a refuge for East Africa's most extraordinary wildlife, including newly discovered and previously unfilmed species which have evolved surprising survival strategies to cope with their challenging mountain environment.  Part 2: Water  The Great Rift Valley channels a huge diversity of waterways - rivers, lakes, waterfalls, caustic springs and coral seas - spanning from Egypt to Mozambique. Some lake and ocean deeps harbour previously unseen life-forms, while caustic waters challenge life to the extreme. But where volcanic minerals enrich the Great Rift's waterways, they provide the most spectacular concentrations of birds, mammals and fish in all Africa.  Part 3: Grass  The Great Rift Valley provides the stage for an epic battle between trees and grass - its course influenced by volcanic eruptions, landscape and rainfall. On its outcome rests the fate of Africa's great game herds. In the Rift's savannas, grazers and their predators struggle to outwit each other, forcing one group of primates to develop a social system that paved the way for the evolution of mankind.

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