《出生证明》电影高清完整版在线观看_出生证明高清完整版下载-超酷影视

影片信息

片名：出生证明
状态：HD
主演：Andrzej Banaszewski/Beata Barszczewska/马里乌什·德莫霍夫斯基/
导演：斯坦尼斯拉夫·罗泽维格/
年份：1961
地区：其它
类型：战争片/
时长：内详
上映：未知
语言：其它
更新：2024-04-24 00:19
简介：　　In 1961, Stanislaw Rozewicz created the novella film "Birth Certificate" in cooperation with his brother, Taduesz Rozewicz as screenwriter. Such brother tandems are rare in the history of film but aside from family ties, Stanislaw (born in 1924) and Taduesz (born in 1921) were mutually bound by their love for the cinema. They were born and grew up in Radomsk, a small town which had "its madmen and its saints" and most importanly, the "Kinema" cinema, as Stanislaw recalls: for him cinema is "heaven, the whole world, enchantment". Tadeusz says he considers cinema both a charming market stall and a mysterious temple. "All this savage land has always attracted and fascinated me," he says. "I am devoured by cinema and I devour cinema; I'm a cinema eater." But Taduesz Rozewicz, an eminent writer, admits this unique form of cooperation was a problem to him: "It is the presence of the other person not only in the process of writing, but at its very core, which is inserperable for me from absolute solitude." Some scenes the brothers wrote together; others were created by the writer himself, following discussions with the director. But from the perspective of time, it is "Birth Certificate", rather than "Echo" or "The Wicked Gate", that Taduesz describes as his most intimate film. This is understandable. The tradgey from September 1939 in Poland was for the Rozewicz brothers their personal "birth certificate". When working on the film, the director said "This time it is all about shaking off, getting rid of the psychological burden which the war was for all of us. ... Cooperation with my brother was in this case easier, as we share many war memories. We wanted to show to adult viewers a picture of war as seen by a child. ... In reality, it is the adults who created the real world of massacres. Children beheld the horrors coming back to life, exhumed from underneath the ground, overwhelming the earth."　　The principle of composition of "Birth Certificate" is not obvious. When watching a novella film, we tend to think in terms of traditional theatre. We expect that a miniature story will finish with a sharp point; the three film novellas in Rozewicz's work lack this feature. We do not know what will be happen to the boy making his alone through the forest towards the end of "On the Road". We do not know whether in "Letter from the Camp", the help offered by the small heroes to a Soviet prisoner will rescue him from the unknown fate of his compatriots. The fate of the Jewish girl from "Drop of Blood" is also unclear. Will she keep her new impersonation as "Marysia Malinowska"? Or will the Nazis make her into a representative of the "Nordic race"? Those questions were asked by the director for a reason. He preceived war as chaos and perdition, and not as linear history that could be reflected in a plot. Although "Birth Certificate" is saturated with moral content, it does not aim to be a morality play. But with the immense pressure of reality, no varient of fate should be excluded. This approached can be compared wth Krzysztof Kieslowski's "Blind Chance" 25 years later, which pictured dramatic choices of a different era.　　The film novella "On the Road" has a very sparing plot, but it drew special attention of the reviewers. The ominating overtone of the war films created by the Polish Film School at that time should be kept in mind. Mainly owing to Wajda, those films dealt with romantic heritage. They were permeated with pathos, bitterness, and irony. Rozewicz is an extraordinary artist. When narrating a story about a boy lost in a war zone, carrying some documents from the regiment office as if they were a treasure, the narrator in "On the Road" discovers rough prose where one should find poetry. And suddenly, the irrational touches this rather tame world. The boy, who until that moment resembled a Polish version of the Good Soldier Schweik, sets off, like Don Quixote, for his first and last battle. A critic described it as "an absurd gesture and someone else could surely use it to criticise the Polish style of dying. ... But the Rozewicz brothers do no accuse: they only compose an elegy for the picturesque peasant-soldier, probably the most important veteran of the Polish war of 1939-1945." "Birth Certificate" is not a lofty statement about national imponderabilia. The film reveals a plebeian perspective which Aleksander Jackieqicz once contrasted with those "lyrical lamentations" inherent in the Kordian tradition. However, a historical overview of Rozewicz's work shows that the distinctive style does not signify a fundamental difference in illustrating the Polish September. Just as the memorable scene from Wajda's "Lotna" was in fact an expression of desperation and distress, the same emotions permeate the final scene of "Birth Certificate". These are not ideological concepts, though once described as such and fervently debated, but rather psychological creations. In this specific case, observes Witold Zalewski, it is not about manifesting knightly pride, but about a gesture of a simple man who does not agree to be enslaved.　　The novella "Drop of Blood" is, with Aleksander Ford's "Border Street", one of the first narrations of the fate of the Polish Jews during the Nazi occupation. The story about a girl literally looking for her place on earth has a dramatic dimension. Especially in the age of today's journalistic disputes, often manipulative, lacking in empathy and imbued with bad will, Rozewicz's story from the past shocks with its authenticity. The small herione of the story is the only one who survives a German raid on her family home. Physical survial does not, however, mean a return to normality. Her frightened departure from the rubbish dump that was her hideout lead her to a ruined apartment. Her walk around it is painful because still fresh signs of life are mixed with evidence of annihilation. Help is needed, but Mirka does not know anyone in the outside world. Her subsequent attempts express the state of the fugitive's spirits - from hope and faith, moving to doubt, a sense of oppression, and thickening fear, and finally to despair.　　At the same time, the Jewish girl's search for refuge resembles the state of Polish society. The appearance of Mirka results in confusion, and later, trouble. This was already signalled by Rozewicz in an exceptional scene from "Letter from the Camp" in which the boy's neighbour, seeing a fugitive Russian soldier, retreats immediately, admitting that "Now, people worry only about themselves." Such embarassing excuses mask fear. During the occupation, no one feels safe. Neither social status not the aegis of a charity organisation protects against repression. We see the potential guardians of Mirka passing her back and forth among themselves. These are friendly hands but they cannot offer strong support. The story takes place on that thin line between solidarity and heroism. Solidarity arises spontaneously, but only some are capable of heroism. Help for the girl does not always result from compassion; sometimes it is based on past relations and personal ties (a neighbour of the doctor takes in the fugitive for a few days because of past friendship). Rozewicz portrays all of this in a subtle way; even the smallest gesture has significance. Take, for example, the conversation with a stranger on the train: short, as if jotted down on the margin, but so full of tension. And earlier, a peculiar examination of Polishness: the "Holy Father" prayer forced on Mirka by the village boys to check that she is not a Jew. Would not rising to the challenge mean a death sentance?　　Viewed after many years, "Birth Certificate" discloses yet another quality that is not present in the works of the Polish School, but is prominent in later B-class war films. This is the picture of everyday life during the war and occupation outlined in the three novellas. It harmonises with the logic of speaking about "life after life". Small heroes of Rozewicz suddenly enter the reality of war, with no experience or scale with which to compare it. For them, the present is a natural extension of and at the same time a complete negation of the past. Consider the sleey small-town marketplace, through which armoured columns will shortly pass. Or meet the German motorcyclists, who look like aliens from outer space - a picture taken from an autopsy because this is how Stanislaw and Taduesz perceived the first Germans they ever met. Note the blurred silhouettes of people against a white wall who are being shot - at first they are shocking, but soon they will probably become a part of the grim landscape. In the city centre stands a prisoner camp on a sodden bog ("People perish likes flies; the bodies are transported during the night"); in the street the childern are running after a coal wagon to collect some precious pieces of fuel. There's a bustle around some food (a boy reproaches his younger brother's actions by singing: "The warrant officer's son is begging in front of the church? I'm going to tell mother!"); and the kitchen, which one evening becomes the proscenium of a real drama. And there are the symbols: a bar of chocolate forced upon a boy by a Wehrmacht soldier ("On the Road"); a pair of shoes belonging to Zbyszek's father which the boy spontaneously gives to a Russian fugitive; a priceless slice of bread, ground under the heel of a policeman in the guter ("Letters from the Camp"). As the director put it: "In every film, I communicate my own vision of the world and of the people. Only then the style follows, the defined way of experiencing things." In Birth Certificate, he adds, his approach was driven by the subject: "I attempted to create not only the texture of the document but also to add some poetic element. I know it is risky but as for the merger of documentation and poety, often hidden very deep, if only it manages to make its way onto the screen, it results in what can referred to as 'art'."　　After 1945, there were numerous films created in Europe that dealt with war and children, including "Somewhere in Europe" ("Valahol Europaban", 1947 by Geza Radvanyi), "Shoeshine" ("Sciescia", 1946 by Vittorio de Sica), and "Childhood of Ivan" ("Iwanowo dietstwo" by Andriej Tarkowski). Yet there were fewer than one would expect. Pursuing a subject so imbued with sentimentalism requires stylistic disipline and a special ability to manage child actors. The author of "Birth Certificate" mastered both - and it was not by chance. Stanislaw Rozewicz was always the beneficent spirit of the film milieu; he could unite people around a common goal. He emanated peace and sensitivity, which flowed to his co-workers and pupils. A film, being a group work, necessitates some form of empathy - tuning in with others.　　In a biographical documentary about Stanislaw Rozewicz entitled "Walking, Meeting" (1999 by Antoni Krauze), there is a beautiful scene when the director, after a few decades, meets Beata Barszczewska, who plays Mireczka in the novella "Drops of Blood". The woman falls into the arms of the elderly man. They are both moved. He wonders how many years have passed. She answers: "A few years. Not too many." And Rozewicz, with his characteristic smile says: "It is true. We spent this entire time together."

211
微信扫一扫
复制下方链接，去粘贴给好友吧-出生证明复制链接
关注公众号观影不迷路
扫一扫用手机访问

立即播放 LZ线路

选择来源

LZ线路

9.0

网友评分

很差
较差
还行
推荐
力荐

151次评分

9.0

网友评分

很差
较差
还行
推荐
力荐

151次评分

给影片打分《出生证明》

很差
较差
还行
推荐
力荐

我也要给影片打分

扫一扫用手机访问

首页电影战争片出生证明

播放列表

当前资源来源LZ线路 - 在线播放,无需安装播放器

倒序

LZ线路

HD中字

剧情简介

　　In 1961, Stanislaw Rozewicz created the novella film "Birth Certificate" in cooperation with his brother, Taduesz Rozewicz as screenwriter. Such brother tandems are rare in the history of film but aside from family ties, Stanislaw (born in 1924) and Taduesz (born in 1921) were mutually bound by their love for the cinema. They were born and grew up in Radomsk, a small town which had "its madmen and its saints" and most importanly, the "Kinema" cinema, as Stanislaw recalls: for him cinema is "heaven, the whole world, enchantment". Tadeusz says he considers cinema both a charming market stall and a mysterious temple. "All this savage land has always attracted and fascinated me," he says. "I am devoured by cinema and I devour cinema; I'm a cinema eater." But Taduesz Rozewicz, an eminent writer, admits this unique form of cooperation was a problem to him: "It is the presence of the other person not only in the process of writing, but at its very core, which is inserperable for me from absolute solitude." Some scenes the brothers wrote together; others were created by the writer himself, following discussions with the director. But from the perspective of time, it is "Birth Certificate", rather than "Echo" or "The Wicked Gate", that Taduesz describes as his most intimate film. This is understandable. The tradgey from September 1939 in Poland was for the Rozewicz brothers their personal "birth certificate". When working on the film, the director said "This time it is all about shaking off, getting rid of the psychological burden which the war was for all of us. ... Cooperation with my brother was in this case easier, as we share many war memories. We wanted to show to adult viewers a picture of war as seen by a child. ... In reality, it is the adults who created the real world of massacres. Children beheld the horrors coming back to life, exhumed from underneath the ground, overwhelming the earth."　　The principle of composition of "Birth Certificate" is not obvious. When watching a novella film, we tend to think in terms of traditional theatre. We expect that a miniature story will finish with a sharp point; the three film novellas in Rozewicz's work lack this feature. We do not know what will be happen to the boy making his alone through the forest towards the end of "On the Road". We do not know whether in "Letter from the Camp", the help offered by the small heroes to a Soviet prisoner will rescue him from the unknown fate of his compatriots. The fate of the Jewish girl from "Drop of Blood" is also unclear. Will she keep her new impersonation as "Marysia Malinowska"? Or will the Nazis make her into a representative of the "Nordic race"? Those questions were asked by the director for a reason. He preceived war as chaos and perdition, and not as linear history that could be reflected in a plot. Although "Birth Certificate" is saturated with moral content, it does not aim to be a morality play. But with the immense pressure of reality, no varient of fate should be excluded. This approached can be compared wth Krzysztof Kieslowski's "Blind Chance" 25 years later, which pictured dramatic choices of a different era.　　The film novella "On the Road" has a very sparing plot, but it drew special attention of the reviewers. The ominating overtone of the war films created by the Polish Film School at that time should be kept in mind. Mainly owing to Wajda, those films dealt with romantic heritage. They were permeated with pathos, bitterness, and irony. Rozewicz is an extraordinary artist. When narrating a story about a boy lost in a war zone, carrying some documents from the regiment office as if they were a treasure, the narrator in "On the Road" discovers rough prose where one should find poetry. And suddenly, the irrational touches this rather tame world. The boy, who until that moment resembled a Polish version of the Good Soldier Schweik, sets off, like Don Quixote, for his first and last battle. A critic described it as "an absurd gesture and someone else could surely use it to criticise the Polish style of dying. ... But the Rozewicz brothers do no accuse: they only compose an elegy for the picturesque peasant-soldier, probably the most important veteran of the Polish war of 1939-1945." "Birth Certificate" is not a lofty statement about national imponderabilia. The film reveals a plebeian perspective which Aleksander Jackieqicz once contrasted with those "lyrical lamentations" inherent in the Kordian tradition. However, a historical overview of Rozewicz's work shows that the distinctive style does not signify a fundamental difference in illustrating the Polish September. Just as the memorable scene from Wajda's "Lotna" was in fact an expression of desperation and distress, the same emotions permeate the final scene of "Birth Certificate". These are not ideological concepts, though once described as such and fervently debated, but rather psychological creations. In this specific case, observes Witold Zalewski, it is not about manifesting knightly pride, but about a gesture of a simple man who does not agree to be enslaved.　　The novella "Drop of Blood" is, with Aleksander Ford's "Border Street", one of the first narrations of the fate of the Polish Jews during the Nazi occupation. The story about a girl literally looking for her place on earth has a dramatic dimension. Especially in the age of today's journalistic disputes, often manipulative, lacking in empathy and imbued with bad will, Rozewicz's story from the past shocks with its authenticity. The small herione of the story is the only one who survives a German raid on her family home. Physical survial does not, however, mean a return to normality. Her frightened departure from the rubbish dump that was her hideout lead her to a ruined apartment. Her walk around it is painful because still fresh signs of life are mixed with evidence of annihilation. Help is needed, but Mirka does not know anyone in the outside world. Her subsequent attempts express the state of the fugitive's spirits - from hope and faith, moving to doubt, a sense of oppression, and thickening fear, and finally to despair.　　At the same time, the Jewish girl's search for refuge resembles the state of Polish society. The appearance of Mirka results in confusion, and later, trouble. This was already signalled by Rozewicz in an exceptional scene from "Letter from the Camp" in which the boy's neighbour, seeing a fugitive Russian soldier, retreats immediately, admitting that "Now, people worry only about themselves." Such embarassing excuses mask fear. During the occupation, no one feels safe. Neither social status not the aegis of a charity organisation protects against repression. We see the potential guardians of Mirka passing her back and forth among themselves. These are friendly hands but they cannot offer strong support. The story takes place on that thin line between solidarity and heroism. Solidarity arises spontaneously, but only some are capable of heroism. Help for the girl does not always result from compassion; sometimes it is based on past relations and personal ties (a neighbour of the doctor takes in the fugitive for a few days because of past friendship). Rozewicz portrays all of this in a subtle way; even the smallest gesture has significance. Take, for example, the conversation with a stranger on the train: short, as if jotted down on the margin, but so full of tension. And earlier, a peculiar examination of Polishness: the "Holy Father" prayer forced on Mirka by the village boys to check that she is not a Jew. Would not rising to the challenge mean a death sentance?　　Viewed after many years, "Birth Certificate" discloses yet another quality that is not present in the works of the Polish School, but is prominent in later B-class war films. This is the picture of everyday life during the war and occupation outlined in the three novellas. It harmonises with the logic of speaking about "life after life". Small heroes of Rozewicz suddenly enter the reality of war, with no experience or scale with which to compare it. For them, the present is a natural extension of and at the same time a complete negation of the past. Consider the sleey small-town marketplace, through which armoured columns will shortly pass. Or meet the German motorcyclists, who look like aliens from outer space - a picture taken from an autopsy because this is how Stanislaw and Taduesz perceived the first Germans they ever met. Note the blurred silhouettes of people against a white wall who are being shot - at first they are shocking, but soon they will probably become a part of the grim landscape. In the city centre stands a prisoner camp on a sodden bog ("People perish likes flies; the bodies are transported during the night"); in the street the childern are running after a coal wagon to collect some precious pieces of fuel. There's a bustle around some food (a boy reproaches his younger brother's actions by singing: "The warrant officer's son is begging in front of the church? I'm going to tell mother!"); and the kitchen, which one evening becomes the proscenium of a real drama. And there are the symbols: a bar of chocolate forced upon a boy by a Wehrmacht soldier ("On the Road"); a pair of shoes belonging to Zbyszek's father which the boy spontaneously gives to a Russian fugitive; a priceless slice of bread, ground under the heel of a policeman in the guter ("Letters from the Camp"). As the director put it: "In every film, I communicate my own vision of the world and of the people. Only then the style follows, the defined way of experiencing things." In Birth Certificate, he adds, his approach was driven by the subject: "I attempted to create not only the texture of the document but also to add some poetic element. I know it is risky but as for the merger of documentation and poety, often hidden very deep, if only it manages to make its way onto the screen, it results in what can referred to as 'art'."　　After 1945, there were numerous films created in Europe that dealt with war and children, including "Somewhere in Europe" ("Valahol Europaban", 1947 by Geza Radvanyi), "Shoeshine" ("Sciescia", 1946 by Vittorio de Sica), and "Childhood of Ivan" ("Iwanowo dietstwo" by Andriej Tarkowski). Yet there were fewer than one would expect. Pursuing a subject so imbued with sentimentalism requires stylistic disipline and a special ability to manage child actors. The author of "Birth Certificate" mastered both - and it was not by chance. Stanislaw Rozewicz was always the beneficent spirit of the film milieu; he could unite people around a common goal. He emanated peace and sensitivity, which flowed to his co-workers and pupils. A film, being a group work, necessitates some form of empathy - tuning in with others.　　In a biographical documentary about Stanislaw Rozewicz entitled "Walking, Meeting" (1999 by Antoni Krauze), there is a beautiful scene when the director, after a few decades, meets Beata Barszczewska, who plays Mireczka in the novella "Drops of Blood". The woman falls into the arms of the elderly man. They are both moved. He wonders how many years have passed. She answers: "A few years. Not too many." And Rozewicz, with his characteristic smile says: "It is true. We spent this entire time together."

为你推荐

换一换

HD
余战2024
4.0 Sebastian D. Fischer/Anna Kaminski/Sandro Kirtzel/Lana-Mae Lopicic/Nora Carla Pichler/
HD
二战：凤凰行动
8.0 Darrin Archer/Suzy Alden/Allison Kessler/Amanda Shafer/Cabrina Collesides/
HD
战·争
9.0德德哈罗·伍恩-阿乙-太任/威尔·保尔特/约瑟夫·奎恩/查尔斯·梅尔顿/柯斯莫·贾维斯/基特·康纳/芬恩·本尼特/泰勒·约翰·史密斯/迈克尔·甘多菲尼/阿丹·布拉德利/诺亚·琴蒂内奥/埃文·霍茲曼/亨利·扎格/亚伦·迪金斯/亚历克斯·布罗克多夫/杰克·兰珀特/豪尔赫·莱昂·马丁内斯/海德·阿里/乔·麦考利/阿索·谢拉巴亚尼/
HD中字
海的沉默
4.0 霍华德·沃侬/妮科尔·斯黛芬/让·马力·罗宾/Ami Aaröe/Georges Patrix/Denis Sadier/Rudelle/Max Fromm/克洛德·韦尼耶/Max Hermann/Fritz Schmiedel/
HD
战争之翼
5.0 Joseph Millson/Michael McKell/Ronan Summers/Ade Dimberline/Timothy Blore/
HD
战争命运
1.0 Meg Forgan/Sophie Craig/Allan Relph/Jon Lee Pellet/
HD
战火中的小狐狸
3.0 卡尔·马克维斯/亚历山大·拜尔/皮特·布科夫斯基/Stan Steinbichler/西蒙·莫尔泽/Adrianna Gradziel/科内利乌斯·奥博尼亚/Karola Maria Niederhuber/Joshua Bader/Joseph Stoisits/Marko Kerezovic/Felix Adams/Maximilian Echtinger/
HD国语
深山狙击
9.0王骏毅/赵宏/王品一/李东艾/Dongai/Li/赵亮/张立/
HD
失控2023
9.0 Beatrice Fletcher/Ben Foley/Tom Snape/
HD
普京
10.0 托马斯·德德克/Justyna Karlowska/托马斯·克莱舒曼/Slawomir Sobala/Kalina Wysocka/Maksymilian Zielinski/

HD国语
中国营长
6.0未知
HD国语
生死阻击
3.0李幼斌/王韬/史兰芽/魏子千/江水/张光北/
HD中字
海鹰
6.0王心刚/张勇手/王毅/黄焕光/井立民/张连伏/王心鉴/孟庆芳/李辉健/里坡/李晓青/邢吉田/王晓棠/朱启/李艺青/刘江/张璋/翟春华/阿布杜/庞万灵/
HD中字
逃离索比堡
1.0 艾伦·阿金/乔安娜·帕库拉/鲁格·豪尔/Hartmut Becker/杰克·谢菲尔德/
HD中字
暴雨将至
9.0 格莱戈尔·科林/Dzemail Maksut/拉宾娜·米特威斯卡/米莉察·斯托扬诺娃/彼得·米尔切夫斯基/拉德·舍博德兹加/Katerina Kocevska/凯特琳·卡特利吉/Abdurrahman Shala/Daniel Newman/菲丽达·劳/Ljupcho Todorovski/Peter Needham/Aleksandar Mikic/梅托·约瓦诺夫斯基/Silvija Stojanovska/Jordan Vitanov/杰伊·维利尔斯/
HD中字
怒海追逐战
2.0约翰·韦恩/拉娜·特纳/
HD中字
日本海大海战：海行兮
1.0三船敏郎/丹波哲郎/
HD中字
战场上的快乐圣诞
5.0大卫·鲍伊/汤姆·康蒂/坂本龙一/北野武/杰克·汤普森/约翰尼·大仓/阿利斯泰尔·布朗宁/詹姆斯·马尔科姆/克里斯·布龙/内田裕也/金田龙之介/内藤刚志/石仓民夫/户浦六宏/三上宽/本间裕二/饭岛大介/三上博史/增田有宏/
HD中字
地下
7.0米基·马诺伊洛维奇/拉扎尔·里斯托夫斯基/米里亚娜·约科维奇/斯拉夫科·斯提马科/恩斯特·施托兹/
HD中字
北京55日
6.0查尔顿·赫斯顿/艾娃·加德纳/大卫·尼文/弗劳拉·罗博森/

HD中字
烽火母女泪
2.0 索菲娅·罗兰/让-保罗·贝尔蒙多/艾伦诺拉·布朗/卡尔洛·尼奇/安德烈·切齐/普佩拉·玛奇奥/艾玛巴伦/安东內拉·德拉·博尔塔/佛朗哥·巴尔杜奇/科特·罗文斯/卢西亚诺·皮格齐/雷夫·瓦朗/温琴佐·穆索利诺/雷纳托·萨尔瓦托雷/Ettore Mattia/
HD中字
恐惧与欲望
10.0 弗兰克·斯尔维拉/肯尼思·哈普/保罗·马祖斯基/斯蒂芬·科伊特/弗吉尼亚·莱特/David Allen/Toba Kubrick/
HD中字
白昼进攻
3.0达纳·安德鲁斯/理查德·康特/乔治·泰恩/
HD国语
黑太阳731
6.0王刚///田介夫///王润身/
HD中字
小兵1963
3.0米歇尔·索博/安娜·卡里娜/亨利-雅克·于埃/
HD中字
红色机尾
2.0 内特·派克/大卫·奥伊罗/泰伦斯·霍华德/崔斯坦·瓦尔德斯/尼欧/伊利亚·凯利/小库珀·古丁/安德烈·罗佑/马索·曼恩/马库斯·T·保尔克/迈克尔·B·乔丹/小莱斯利·奥多姆/凯文·菲利普斯/李·特格森/杰拉尔德·麦克雷尼/瑞克·奥托/丹妮拉·鲁阿/布莱恩·科兰斯顿/保罗·福克斯/马修·马什/巴纳比·凯/大卫·吉亚西/乔希·达拉斯/阿梅尔·艾米恩/纳撒尼尔·马泰洛-怀特/安东尼·威尔士/亨利·加勒特/鲁伯特·彭利-琼斯/Todd Detwiler/Ryan Early/布莱恩·格罗斯/希亚兰·麦克蒙纳敏/
HD中字
无主之地2001
9.0布兰科·德约里奇/瑞内·比托拉贾奇/菲利普·索瓦戈维奇/乔治斯·西蒂斯/凯特琳·卡特利吉/
HD中字
血战纳尔维克
9.0 比利·坎贝尔/Stig Henrik Hoff/Henrik Mestad/Holger Handtke/卡尔·马丁·厄格斯玻/Benjamin Noble/Magnus Dugdale/Christoph Bach/Kristine Hartgen/Emil Johnsen/Anders Wang/Øyvind Mørk/Leif Arno Hofheinz/Fredrik Nordeng/Bjørn Iversen/
HD中字
战地钟声
3.0 加里·库珀/英格丽·褒曼/Akim Tamiroff/Arturo de Córdova/Vladimir Sokoloff/
HD中字
深入敌后：危险营救
7.0 爱德·维斯特维克/汤姆·威斯多姆/约翰·汉纳/Daniel Jillings/帕维·德朗柯/Gary Grant/Vladimir Epifantsev/让·马克·伯克霍尔兹/克里·约翰逊/帕特里克·卡尔森/Ekaterina Vladimirova/Scott Haining/基里尔·普雷特涅夫/Aleksandr Zlatopolskiy/Andrey Karako/

换一换

出生证明

影片信息

选择来源

播放列表

剧情简介

为你推荐

最新资讯

评论

战争片排行榜