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.
各种反杀再反杀，夫妻嘛，再怎么窝里横还是要一致对外。结局太搞了哈哈！
放在奶飞电影中算是不错的了，但抛开情怀，剧情还是太单薄。
情感主线渲染的很好，两个烂人面对生活的烂摊子，想出来的办法却都是杀掉对方。即使亲爹被杀，想到的也是逃跑，烂到家。全程都是又废物又绝望。因为情绪铺垫的好，后面打斗再离谱都觉得不意外。最喜欢的桥段是老爷子开电动车。
制造怪物然后杀掉怪物，以此赚钱，这是权力和资本一直在做的事。
没看过前传，感觉形同嚼蜡。好吗？真的好吗？
维瑟米尔确实帅，但是好像吃了设定吧吗，起码游戏里妹子最后不是这样死的。
“我们用魔法将不好的幻象投射到不怎么样的食物上，让食物更好吃一点，但是幻觉的余味？真苦”整个电影，让我觉得很棒的一点在于，它有着诗一样的对白！
大哥，你是晓得的我的，要是我，趴在桌子上的应该是她老公。
经历过青草试炼的猎魔人都算是在地狱走过一遭了，这也解释了猎魔人为啥都生性放荡不羁爱自由。
猎魔人前传，内容套路并不出彩，但它是猎魔人
整个故事的框架还是挺不错的，特别是结局，挺搞笑和讽刺，有一星是给这个结局的。
血腥又好笑，老爷子最硬核。家里这么多枪却不求反杀一心逃跑算是bug，不过清晨的血浆大战足够劲爆，推荐！
尚可的粉丝向作品，剧情大体上属于原创，通顺紧凑却无甚出彩之处，然而很符合猎魔人小说原著的调性，也完善了维瑟米尔这个万年背景板的人物弧光。制作水平比恶魔城动画差不少，然而这中规中矩的呈现已经足够使电视剧版看起来像小孩子过家家了。。。
3:动画制作组忘了一个很严重的bug 那就是猎魔人在接受了青草试炼后就丧失了正常人的大多数情感 所以在《巫师》游戏本作中杰洛特做出选择时角色本身是没有感情起伏的 真正引发感情起伏的玩家或者说是屏幕前的观众 过多的感情线是剧本最大的败笔之一 最后维瑟米尔老爷子猛男落泪那段真让我蚌埠住了 事实上完全有更好的呈现方式
尺度比剧和游戏都要大，更加地黑暗，也因此更加深入地抓住了原著的神髓，没有是非对错，在如此残酷的世界里，大家都只能尽力地surviving。
老爹的伊格尼能烧化一整片湖，杰洛特你行不行？ps 那个女巫真的是个疯婆娘
Netflix 的动画像是都一个模子流水线刻出来的。
-“So am I”
Uncle Vesemir的成长史和Kaer Morhen的没落史。韩国人做的动画的风格也就还好吧，莫名有些鬼灭之刃的感觉。最后走心了。请继续把Witcher宇宙发扬光大！
渡劫青草试炼后的那段蒙太奇，加上提琴的配乐，我看了十遍，太帅。Illyana那封信写的也很美，我准备背下来。
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