故事改编自著名的二战军事事件“敦刻尔克大撤退”。二战初期，春暖40万英法盟军被敌军围困于敦刻尔克的海滩之上，春暖面对敌军步步逼近的绝境，形势万分危急。英国政府和海军发动大批船员，动员人民起来营救军队。英国士兵汤米（菲昂·怀特海德 Fionn Whitehead 饰）在逃离海滩的过程中相继结识吉布森与亚历克斯，同时民用船主道森先生（马克·里朗斯 Mark Rylance 饰）与儿子彼得、17岁少年乔治也离开英国，去往敦刻尔克拯救士兵。三人陆续搭救了海军（基里安·墨菲 Cillian Murphy 饰）、飞行员柯林斯及汤米一行人，而战斗机飞行员法瑞尔（汤姆·哈迪 Tom Hardy 饰）则在被敌人双面夹击的艰难情形下顽强战斗。影片的故事从陆、海、空三个角度讲述，在德国军队的包围下，每个人不得不为自己的命运背水一战，才有可能活着回家。
林正豪
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.
米西艾略特
回复 :身手非凡的鸿鹏在东南亚格斗大赛中击败马来拳王阿布，被富家女米汝楠聘为保镖。米汝楠的父亲意欲在马来西亚投资，派米汝楠前往马来西亚考察。 鸿鹏受米老先生所托，负责米汝楠一行在马来西亚的安全。身为吉隆坡特警队长的阿布在一次抓捕突袭行动中被内鬼出卖遭遇黑帮伏击，队友死伤惨重，未婚妻也被残忍杀害。 鸿鹏和米汝楠在吉隆坡巧遇疯癫的阿布。米汝楠遭意外绑架，刚直不阿的鸿鹏为了履行当初的承诺，为营救同胞，毅然闯入黑道龙潭，誓要将被掳走的米汝楠救出。面对势力庞大的黑帮，中马两大拳王联手闯入罪恶堡垒，不惜以命相搏！经过苦战终于击败“疯狗”、“屠夫”和本雅明王子，并顺势揪出了吉隆坡警局的内鬼。
余少群
回复 :投资直播公司破产、欠了五十万债的东北姑娘杨杨为了躲债偶然躲到了山东一个村里，住进了村里唯一一家家庭民宿。经营民宿的孙二婶以一哭二闹三上吊的方式把在北京打工好几年、事业上毫无起色的儿子大光硬拖回了家。连番无数次相亲失败之后，不愿结婚、一心只想去北京闯的大光把最后一次相亲搞砸了。孙二婶下了死命令，找不到对象，绝不放大光去打工。被催债没辙的杨杨像每次捅了篓子一样去找老爸老杨。为了从老爸那获得投资，把入住的民宿说成了自己投资开的，而且经营良好。老杨很高兴，但是——决定第二天派得力助手张会计来考察。这回杨杨撒下的谎，不知如何去圆。一个需要女朋友，一个需要当老板。灵机一动，杨杨想出了双赢的计划，于是跟大光谈交易，她扮演成大光的女朋友，让他能顺利去打工，大光配合她扮成老板，让她顺利拿到老爸的投资！二人花钱雇村民当客人，组成了一支“虾兵蟹将”临时团队，伪装出生意兴隆的假象，但一个谎言需要无数个谎言去掩盖，雪球越滚越大，事情的发展终究超出了掌控……
