只有小孩智商的江顺（廖启智 饰）和弟弟江够力（汤小康 饰）在适耕庄的小镇里经营咖啡店。一天，欧美江顺抱来一个被遗弃之女婴并抚养她，欧美取名江聪明（江倩龄 饰）。聪明长大后果然聪明，在小镇里保护爸爸不被镇里的小孩欺负。当聪明就读中学时遇上心仪男生，筑起感情。但因聪明的家景而遭到男生母亲反对。聪明开始讨厌自己的家，讨厌有一个弱智的爸爸，最后聪明在中学毕业后独自到城市里工作。其后，江顺思念着女儿，同时聪明在城市里也过得不快乐。江顺与够力决定去找她，聪明很感动，就在一家即将团圆之际，聪明却被绑架了．．．
林宜融
回复 :故事以皇上怀疑朝中有人勾结扶桑企图叛国，故派包拯继续以密探身份查清案情，从而引出了一系列迷雾重重、离奇诡异的案件，讲述了陈键锋饰演的包拯见招拆招、剥丝抽茧，最终牵出幕后主使，维护国家百姓安全的故事。
郝云
回复 :故事发生的背景是抗日战争时期的山东省某偏远山村，邱云鹤饰演的主人公栓子家中世代以打猎为生，战火蔓延到这个偏远的小山村，为了国仇家恨，他和他的小叔铜锁(邹笨笨饰)投入了这场保家卫国的战争。
苏菲珊曼妮
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.
