余小飞□避不及，迅速取□(🍬)灭灵剑，双手握着，向天□出。□Somewhere□□n the remote region, t□e war ends. In th□ m□□□t of ruine□ cities □nd hou□e□□in the str□ets, □n□rur□□ ha□lets□ □v□ry□h□re wh□r□ people st□ll liv□, □re c□il□□en who have □os□ thei□ homes and pa□ent□. Abandoned, hu□gry, and in□rags, def□nsel□ss an□ □umi□i□te□, they wander□through the w□rld. Hu□ger d□iv□s them. L□tt□e streams□of orp□ans□merge int□ a river which rush□s fo□ward a□d □ubmer□es everything in its□□ath. The c□□ld□en do not know □ny feel□□g; th□y know □nly t□e world of th□ir□enemies. They fight, ste□l,□s□ru□g□e for a m□uth□ul of food, and□violence is mer□ly a□□eans to get it. A gang led by Cah□u□ finds a □efuge in an abandoned □ast□e and enc□un□□rs a□ old □□□□□s□□□who h□s□□oluntar□ly retired□into solitu□□ fro□ a□wo□ld of hatre□□ treas□n, and cr□m□. How can□the□ □ind □□□ommon□ground, h□□ □□n the□ become □u□ual □r□ends□ T□e ca□t□□ becom□s thei□ hidi□g pla□e □ut□possibl□ □t will also be□th□ir f□rs□ home wh□c□ they may organi□e an□ must□d□fe□d. But□even□fo□ □his, th□ price will be □ery high. To thi□ s□mple s□o□y□ the jo□□n□li□□, wr□ter, poet, scriptwrit□r, movie director, □n□ film t□eoret□cia□ Béla □□□ázs ap□lied □any □ears of□exp□rience. □e and the director Géza Radványi□creat□d a□□or□□whic□ opened a new postw□r c□apter□□n Hungaria□ f□lm. Sur□r□singly, □□is fil□ has not l□st an□□of its impact□over the years,□e□pecial□y on a profou□d philos□phi□al□le□el□ Th□□ □s to □□y, it i□ not merely a movie abo□t w□r□□it is□n□t impo□tant i□ □h□t□□ocation□□nd in□what□perio□ of time i□ ta□e□ □lace. It □s a story□outside of□ti□e abo□t□th□ joyle□s □ate□of chil□ren wh□ □ay □□a□□y f□r □he □ruel w□r games of adults.□□At□the time it was premiered, the □ov□□ was ent□u□iastica□ly receive□ b□ □h□ critics. T□e main ro□es wer□ ta□□□ by street□ise boys of□a chi□dr□n□;s group w□o created □heir roles improvisatio□ally□□n cl□se contact□with a few profess□onal actors, and in th□□chi□dre□&#□9;□ acting their own fresh experience of □□□'s turmoil □p□ears□t□□□e r□f□ected. At t□e same □□me□ their□performance fi□s a□m□rably into the m□sai□□of a ve□y co□plex m□vie l□nguage. Balázs's □n□luence□reveal□d itself, □bove all□□in t□e intro□□ctory s□quences: an a□r raid□on □n a□us□□e□t par□, see□ □n a □ontage of □rama□□c situatio□s ev□ki□□□the la□□ spasms □f w□r,□wher□, undoubt□dl□, we discern the influe□ce of □las□ical Soviet c□nematog□aphy□ Sh□o□ing, the □□y'□□ escape, the locomot□□e□#39;s w□eels, the shad□ws o□ so□diers□with s□bmac□ine □uns, the□soun□ of a □histle—□he □mages □re linked □oget□er in abrupt sequences in which □ary□ng □□ots and expr□ssive sharp sound□□are emphasiz□d. A □erfectl□ pl□nned screen□lay avo□ded□all element□ of □entimentality, time-w□rn□stereotypes of□wronged ch□ldren□□romanticism and che□□ s□mp□ificati□n.□The □u□hor□ su□□eeded in □ridg□ng the□□erilous dra□a□ic a□yss of the m□t□morp□osis of a chil□ren's□communi□y.□The□□ t□lling of□the □to□y (th□ sce□e of □illaging, the assault □n the ca□□le□ etc) ind□pendently introduced some neor□a□□□□ element□ which, at □hat time, we□□ □eing p□opagate□ in Ita□y by□De □i□a,□Ros□ell□ni, and o□her fil□□artists. The rebukes □f □on□emporary critics, wh□ called at□ention□to "fo□malism for its □w□ □ake" hav□ been forg□t□en. The masterly a□t □f □ameraman Ba□nabás Hegyi gives□vital□□y t□□th□ □oeti□ □mages. H□s an□le □ho□s of th□ children,□his co□p□si□ion□o□ sce□es in the cas□le inte□io□, are a living□do□ument of the □im□s, and underlin□ the atmosphere and the c□a□acters□of the protagonists. The success of the □icture was a□so enhance□ by□t□□ music□l art □f □ompose□ □énes□Buda□ who, □n te□se situ□tions□ i□s□rted the t□e□e of the □arseilai□e int□ the mov□e'□ st□ucture, □s□a m□t□v□ of co□□unity uni□icatio□,□□s□□n □xpression of □□iendsh□□ □□d the □ossibility of unders□a□ding. (🌉)□ala□□l Eur□p□b□n is □he first significant postwa□ Hu□garian□film□ It o□iginated□in a relaxed at□os□her□, replete□w□th joy an□ e□phoria, and it i□c□udes□these elements in o□□er to□demonstrate the□strength of human□sm, □olera□ce, and□□riendship. It r□□resents a general condemn□tion of war□anywhere i□ the □orld, in a□y for□.《肉□》是一部2000年上映的丧尸片，导□□🎻)是Brian Cle□ent□故事发(□□生在现在或未□的美国都市，主人公□药物公司的两个前探子，他□奋力杀出□人□的(🌕)重围。这部电影虽(😕)□不算原创，但(🆘□仍然□一□看头。...“南方人(🕎)灵活□矮小，对□需□身方有优势□短程搏斗只能用□。”
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