《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
志愿军：存亡之战
8.0朱一龙/辛柏青/张子枫/朱亚文/陈飞宇/王砚辉/肖央/吴京/张宥浩/欧豪/韩东君/郭晓东/李卓阳/任重/李乃文/聂远/唐曾/王挺/赫子铭/王阳/贾冰/
HD
闪电战
9.0 西尔莎·罗南/埃利奥特·赫弗南/哈里斯·迪金森/本杰明·克莱曼汀/凯西·伯克/保罗·韦勒/斯蒂芬·格拉汉姆/雷·吉尔/Mica Ricketts/C·J·贝克福德/阿历克斯·杰宁斯/约书亚·麦圭尔/海莉·斯奎尔斯/艾琳·凯利曼/萨莉·梅瑟姆/约瑟夫·阿尔京/克里斯托弗·钟/杰拉德·摩纳科/希瑟·克兰妮/桑德拉·休杰特/Isaac Highams/格雷厄姆·福克斯/Jack Shalloo/
HD
林则徐
9.0赵丹/夏天/高正/韩非/阳华/梁山/谭宁邦/李镛/邓楠/蒋锐/温锡莹/秦怡/魏立达/蓝谷/高博/钱千里/
HD
鸡毛信
3.0蔡元元/蔡安安/舒适/蒋锐/马立/李保罗/郑建民/李镛/冯笑/刘非/周伯勋/田陇/周志峰/程之/于明德/王岚/曹铎/杨公敏/
HD
佩德罗·巴拉莫
8.0 曼努埃尔·加西亚-鲁尔福/泰诺克·乌尔塔/伊尔丝·萨拉斯/Mayra Batalla/Dolores Heredi/乔瓦娜·扎卡里亚斯/诺伊·埃尔南德斯/罗伯特·索萨/赫克托·科特思法基斯/Yoshira Escárrega/
HD
李2023
9.0 凯特·温斯莱特/安迪·萨姆伯格/亚历山大·斯卡斯加德/玛丽昂·歌迪亚/乔什·奥康纳/安德丽娅·赖斯伯勒/诺米·梅兰特/詹姆斯·莫瑞/塞缪尔·巴奈特/恩里克·阿尔切/阿琳泽·科纳/帕特里克·米勒/Camilla Aiko/琪塔·昂罗/文森特·科隆布/托尼·戈亚诺维奇/Sean Duggan/哈丽特·雷奇/Katalin Ruzsik/阿妮塔·马若尔/
HD
战争就是战争
7.0未知
HD
战，乱
8.0姜栋元/朴正民/车胜元/金新绿/陈善圭/郑成日/
HD
冲锋
7.0李感/李茂/贾宏伟/庄小龙/蔡心/康一鸣/
HD
冲破黎明前的黑暗
9.0今欣/李其煌/田裕民/高保成/席德昌/邢志贤/曹瑞/李司野/张浩然/言小朋/魏庆怀/范伯韬/陈立中/李雪红/里坡/郭筠/李力/孙宪元/张元方/刘季云/严寄洲/成立业/杨角/毕须/魏敏/

HD
铁道游击队1956
5.0曹会渠/秦怡/冯喆/冯奇/仲星火/陈述/冯笑/郑敏/李其珍/邓楠/刘非/石灵/李镛/
HD
地道战
5.0朱龙广/张勇手/刘秀杰/刘江/王炳彧/
HD
战上海
6.0丁尼/高岩/胡晓光/李长华/李舒田/王润身/张良/
HD
辛弃疾铁血传奇
2.0刘燕军/蒋勤勤/毕丹/胡正中/杨新洲/
HD
89年的锡比乌
5.0 Alex Calangiu/Catalin Herlo/罗努特·卡拉斯/尤利安·波斯泰尔尼库/亚历山德鲁·帕帕多波尔/Leonid Doni/安迪·瓦斯卢亚努/托玛·库津/Mirela Oprisor/斯蒂芬·扬库/科斯特尔·卡斯卡韦尔/Voicu Dumitras/伊恩·格罗叙/Nicu Mihoc/Alin Florea/Razvan Vicoveanu/Áron Dimény/尼科丁·恩古里亚努/Laurentiu Bãnescu/博格丹·法尔卡什/
HD
猎杀：生死突围
9.0刘林城/张瀚方/时光/冷海铭///姜山/寇钟吁/贾虎/路嘉/毕超/
HD
枪访要塞
1.0杜振清/沈惠芬/马树超/
HD
八百壮士
7.0柯俊雄/林青霞/张艾嘉/秦汉/徐枫/冯淬帆/
HD
德维塔耶夫
2.0 帕维尔·普里卢茨内/蒂莫菲·特里布纳采夫/阿列克谢·菲利蒙诺夫/德米特里·雷先科夫/叶夫根尼·塞尔津/奥列格·楚古诺夫/尼基塔·科洛格利维/帕维尔·切纳廖夫/亚历山大·里科夫/Maksim Khanzhov/菲力·莱福斯丁/Patrick Joswig/
更新至第02集
沸腾的群山
10.0张连文/石宝光/徐长有/

HD
铁血女枪手
6.0陈露茜/王辉/李博/訾富尔/
HD
拂晓的爆炸
1.0徐元奇/庞敏/刘润成/袁裕平/王龙江/边菊/赵雅珉/张汉英/李文伟/浦克/赵之涟/张国文/胡乐佩/夏佩杰/包斯尔/李大禹/
HD
冬季战争
6.0 Manuel Gonçalves/Laurent Guiot/Laurent Cerulli/Benoit Davin/Brian Messina/汤米·李·巴克/Naccari Natale/David Aboucaya/Laurent Aboucaya/Bastien Calou/Erik Mismaque/
HD
四渡赤水
5.0古月/苏林/刘怀正/傅学诚/卢志启/唐国强/赵恒多/金安歌/雷恪生/战裕民/刘利年/宝询/赵守凯/白志迪/刘江/卢高旭/高保成/冯恩鹤/谭明娣/桂萍/邢济舟/王学圻/李恩琪/杨菁/刘桐生/陆辉忠/王小鹏/胡节娜/张彭令/
HD
斗争人生
6.0 本杰明·拉维赫尼/埃马纽埃尔·贝克特/米歇尔·维耶尔莫/安托万·劳伦特/Alain Sachs/Leïla Muse/Malik Amraoui/Chloé Stefani/Djibril Pavadé/Didier Nobletz/泽维尔·马修/马克西姆·贝耶勒/Frédéric Weis/Massimiliano Belsito/Suzanne-Marie Gabriel/Yann Cotty/Amélie Bénady/Jean-François Theresin/David Arribe/Fran/
HD
满分之一秒
5.0朱钟赫/文晋承/
HD
吕正操1942
9.0吴卫东/李艳秋/
HD
卡尔巴拉
3.0 巴特罗米耶·托帕/安东尼·克里科夫斯基/克里斯多·夏帕夫/赖塞科·利希塔/阿斯尔·阿德尔/托马斯·舒查特/迈克尔·茹拉夫斯基/兹比格涅夫·史崔杰/Piotr Zurawski/卢卡斯·辛拉特/彼得·格洛瓦茨基/米科拉吉·罗森斯基/萨米尔·富赫斯/Jakub Wieczorek/亚历山大·萨诺/
HD
天空2023
5.0 阿纳斯塔西娅·塔利齐娜/安东·沙金/瓦拉瓦菈·巴克维茨/谢尔盖·别兹鲁科夫/菲利普·德亚奇科夫/阿格拉娅·塔拉索娃/安娜·叶卡捷琳娜/Marusya Furina/安娜·伊萨耶娃/Kristina Isaykina-Berger/Polina Dudkina/Roman Kaun/Andrey Kondratyev/Natalia Korolskaya/Igor Korovin/Kristina Lapshina/彼得·洛加切夫/叶莲娜·利亚多娃/尤利娅·马尔科娃/玛丽亚·梅尔尼科娃/Igor Mityu/
HD
拯救大兵瑞恩
4.0汤姆·汉克斯///汤姆·塞兹摩尔///爱德华·伯恩斯///巴里·佩珀///亚当·戈德堡//

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